Metamorphoses of Corporeality / Art - Body - Technology

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Metamorphoses of Corporeality
Art - Body - Technology
2-day symposium proceedings
Ionian University - Department of Audio and Visual Arts
ISBN: 978-960-7260-54-3
2015 - T
onian University - Department of Audio and Visual Arts
-:

- M:

- : Dalila Honorato
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Cover Image - Pagination:

Nikos Bouras
Text Editing - Translation:
Dimitra Paganopoulou
Introduction - Editor: Dalila Honorato
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Parul Dave Mukherji, Jawaharlal Nehru, ,
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Scientific committee:
Marianne Strapatsakis, Ionian University
Nikolaos-Grigorios Kanellopoulos, Ionian University
Ioannis Zannos, Ionian University
Elena Hamalidi, Ionian University
Konstantinos Tiligadis, Ionian University
Olga Pombo, Center for Philosophy of Sciences, University of Lisbon
Katerina Koskina, President of the Board of Trustees of the State Museum
of Contemporary Art and Artistic Director of the J. F. Costopoulos Foundation
Parul Dave Mukherji, Jawaharlal Nehru University, New Delhi, India
Eirini Mavrommati, Hellenic Open University
Anna Hatziyiannaki, President of the NGO ARTOPOS for Art and Technology
Organizing committee:
Marianne Strapatsakis, Ionian University
Andreas Floros, Ionian University
Dalila Honorato, Ionian University
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19

51

:
Cyborg

73

92

BRUNO MENDES DA SILVA

When the spectator becomes the protagonist:
The forking paths

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-flneur: ,

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SKIN-less

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ADAM ZARETSKY
Reading Through Embryologists Eyes

363

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Raymond Depardon

409

. Francis Bacon

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human trafficking

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,

460

DALILA HONORATO

CONTENTS

15 Introduction
Part A
Concept and interaction

19

ANNA HATZIYIANNAKI
Art and the re-design of human body

51
EFELI DIMITRIADI
Body and Personhood in web-based virtual worlds:
from Cyborgs to Avatars

73

FOTIS KAGELARIS
Body as Lex Icon

92

BRUNO MENDES DA SILVA

The forking paths

104
DIMITRIS MOUMOURIS
From A. Artauds rawness to the intangible body of mixed media
performances. Theoretical intrends

118
EVELYN GAVRILOU, CHRYSA PAPASARANTOU
Representational approaches of the notion of co-presence in mixed
environments
Part B
Space and creation

152
BILL PSARRAS
Augmenting artist-flneur: Botanizing, weaving and tuning
the geographies of urban experience

173

VASILIS BOUZAS
Slices through space

193

STAVROS MOUTZOURELLIS
The Thinking Body in Corporeal Space

221

VASILIS ARONIDIS
Musical Discipline: corporeality as a spatial convention
on the interpretation of the musical event

239
MYRTO KORKOKIOU, ANDREAS MNIESTRIS,

APOSTOLOS LOUFOPOULOS
The transformation of human voice into timbre by means
of composing for flute and electronics

265
PHILIPPOS THEOCHARIDIS, ANDREAS MNIESTRIS
The ERHMEE sound projection system: Present and evolution prospects of
the body gesture sound projection relationship in the real-time diffusion of
acousmatic music
Part C
Borders and Tensions

286

POLYXENI MANTZOU, XENOFON BITSIKAS

SKIN-less

294
ATHANASIA VIDALI-SOULA
In the constellation of a fission: Deconstructing
the subject in carnal surfaces

327

ADAM ZARETSKY

363

DEMETRA VOGIATZAKI
The Trans*parents of Somatechnics

394
PANAGIOTIS PAPADIMITROPOULOS
Political representations of the body in the work
of Raymond Depardon

409

DESPOINA POULOU
Distortions of pleasure and pain, Francis Bacon in Last tango in Paris

428

445

ELENI MOURI
The controlled body in light of the practice of human trafficking

460

DALILA HONORATO
Instead of a conclusion
SYMEON NIKOLIDAKIS, CALLIOPE TSANTALI

The depiction of the female body in art as an object of worship
and as a ritual medium

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INTRODUCTION
After the successful two-day symposium Art and Interculturality in the
Mediterranean Region (2013), it was proposed, one year later, by the Department of Audio & Visual Arts of the Ionian University, the organization of a
new two-day symposium entitled Metamorphoses of Corporeality: Art-BodyTechnology. In 2014 the open call for presentations of research theory and
art creations took place with extraordinary response, a sign of the increasing
interest in the interdisciplinary field of New Media Arts and the possibilities
of its development in a Greek university located out of a major metropolitan
center.
As a result, during May 16-17th 2014, within the 8th Audiovisual Arts Festival and with the support of the Region of the Ionian Islands, a diverse programme was presented in Corfu. The seventh meeting that took place at the
Department of Audio & Visual Arts of the Ionian University, ten years after
its inauguration, with the objective to discuss the particular range of themes
connected to New Media Arts was a reference point.
With the participation of seven different countries (Greece, Italy, Germany,
Portugal, UK, Denmark and USA), the programme of the two-day symposium
was dedicated to subjects concerning the continuous development of human
corporeal capabilities and their multifaceted effects in the understanding of
the body. Organized in six sessions, the two-day symposium took place in
the historical building Ionian Academy, and included two keynote speakers,
and, for the first time, two poster presentations and video projections of
scientific and art works.
The book of proceedings "Metamorphoses of Corporeality: Art-BodyTechnology" includes 20 of the 31 presentations chosen by the international
scientific-artistic committee.
15
The first part of the edition includes texts dealing with the concept of
body and interaction in digital environments. The presentation of the keynote
speaker Anna Hatziyiannaki provides the frame, through the analysis made
of the body as a notion in the so-called metabiological era. Afther that, Nefeli
Dimitriadi, from the perspective of Cybernetics, searches the new notion of
person within the ontological gap body-self and Fotis Kagelaris provides
a (psycho) analysis of the body as embodied word. According to Bruno
Mendes da Silva the distinction between viewer-protagonist vanishes
in interactive audiovisual narrative. Dimitris Moumouris searches the
definition of performativity through the combination of material and intangible
bodies in mix-media performances while, at the same time, Evelyn Gavrilou
and Chrysa Papasarantou identify the factors affecting the experience of
mixed-body presentation.
The second part of the book explores the effect of physical space in art
execution and creation. Bill Psarras experiences the dimensions of visual
art creation through the method of walking research in the urban space and
the interactive audiovisual work of Vasilis Bouzas, placed in a "no place",
breaks the limits of space. A phenomenological proposal connecting creative
spaces and the development of body perception is made by Stavros
Moutzourellis while Vasilis Aronidis refers the effect of space in body
expression and sound reception followed by the two papers of Andreas
Mniestris, Philippos Theocharidis, Apostolos Loufopoulos and Myrto
Korkokiou both referring to the relation body and sound movements in
electroacoustic music.

In the third part of this publication the corporal limits are approached
as well as the tensions caused by the unconventional representation of the
body. The resistance of the skin as a border between innerness-outerness
in the digital era and the uncanny are referred by Polyxeni Mantzou and
Xenofon Bitsikas and, after that, Athanasia Vidali-Soula underlines the
fragility of this surface as a conscious receiver of the observer's contact.
According to Adam Zaretsky the limits of bio-art are as stable as darwinian
evolution, emphasizing that the environment of a lab and the bioworld have
a lot in common, while to Demetra Vogiatzaki the notion of transgender is a
design challenge under the pressure of multidimensional private and public
factors. Panagiotis Papadimitropoulos approaches the photographic
depiction of injustice visible in the body of the other as an effort of the
observer towards its awareness. On her behalf, Despoina Poulou explores
the representation of extreme body expressions in cinema and painting. Eleni
Mouri presents the subject of human trafficking and stresses the potentiality
16
of animation as a narrative medium for the combat of the phenomenon,

while Symeon Nikolidakis and Calliope Tsantali, within the framework of
museological education, propose practices for the acquaintance of students
with different cultural representations of the female body.
As a whole, the contents of this digital publication reflect the four
principles of the initial call for participation in the two-day symposium: the
creative body, experiences of the body, artificial corporealities and intercorporeal balances. Following the effort to support the international dialogue
between the theoretical and artistic approach and its dissemination among
the wider Greek society it is therefore here presented the second edition of
the Department of Audio & Visual Arts of the Ionian University.
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/
Part A / Concept and interaction
Art and the Re-Design of Human Body

Anna Hatziyiannaki
Abstract
There is an evolution gap in modern human that is, between his biological
body and contemporary technology. Hence, the biological body has to be
redesigned to respond to high technology and the prospect of its space
habitation. The artificial evolutionary step after Modern Homo Sapiens, is
Transhuman, a transitory being with more powerful physical, intellectual and
psychological abilities, having as a visionary target, the Posthuman. The bioethics issues arising from the prospect of Transhuman, touch on both the
sphere of society, and also, the evolutionary stage of his consciousness.
Quantum Mechanics research into biophotonics leads us into the logical
assumption that all biological systems on our planet are interactively
interconnected, not only through the generally accepted food chain of
biosystems, but also biologically, through a biophotonics network.
In an ideal, Planetary Civil Society, a possible counterweight to financial
globalization may be a transcultural planetary network of minds, which will
be connected in a non-hierarchical, and accessible by everybody, interactive
network that combines the silicon technology with Biophotonics. If the aim is
the maturing of consciousness of contemporary Human, then Roy Ascotts
vision for Telenoia is of defining importance for the holistic redesign of life.
This is where society, science and in the spirit of a new Art, where the post
prefix is not required to determine itself.
Keywords: Transhumanism, Redesign of the Body, Cybernetic
Body, Bio Art, Medical Humanties, Posthuman, Prometheus, Centaurs,
Hybrids, Stelarc, Semi-living sculpture, Ear on Arm, Natasha Vita
More, DNA, Prosthetics, Robotics, Aesthetic Surgery, Bioethics, Michel
Foucault, Francis Fukuyama, Ronald Bailey, Nanotechnology, Field
Theory, Quantum Physics, Shamanism, Roy Ascott
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Introduction
What is todays meaning of the termsBody andHuman?
Amongst his over 100 terms and definitions, Roy Ascott11 defines the human body as: Body: Previously the property of Nature, now the site of bionic
transformation at which we can re-create ourselves and re-define what it is
to be human2. The Post-Biological era, a milestone in human evolution, is
described in the same document as follows: Post-biological era: The old
disputes between modernism and post-structuralism, grand narrative and
semantic negation dissolve before the prospect of post-biological life3.
Regarding the question What does it mean to be human?, Stelarc4
quotes:What it means to be human is being constantly redefined. For me
this is not a dilemma at all5.
According to dualism, to which the western Cartesian thinkers are quite
familiar, matter and spirit are two different and separateentities6. Thus, the
body is nothing else but the shell of the soul. Materialism is the exact opposite, and the body is considered a (more-or-less) complex biologic machine. According to Identity Theory, the relationship between mind and body
is studied as a natural condition: Identity theory is a family of views on the
relationship between mind and body. Type Identity theories hold that at least
some types (or kinds, or classes) of mental states are, as a matter of contingent fact, literally identical with some types (or kinds, or classes) of brain
states7. Specifically, the philosophers David Lewis (1941-2001) and David
Armstrong (1926-2014) consider that [] each argued that mental states
are identical to physical states, because mental states are defined by their
1 ROY ASCOTT, https://www.plymouth.ac.uk/staff/roy-ascott

2 ROY ASCOTT, Technoetic Aesthetics, 100 Terms and Definitions for the Post-biological Era,
1997 https://www.academia.edu/3624684. (retrieved 30 July 2014)
3 ROY ASCOTT, Technoetic Aesthetics, 100 Terms and Definitions for the Post-biological Era,
1997, https://www.academia.edu/3624684 (retrieved 30 July 2014)
4 STELARC: http://stelarc.org/?catID=20247 (retrieved 30 July 2014)
5 C THEORY, Paolo Atzori and Kirk Woolford, Academy of Media Arts, Cologne, Germany,
Extended-Body: Interview with Stelarc. http://www.stanford.edu/dept/HPS/stelarc/a29extended_body.html (retrieved 30 July 2014)
6 Dualists in the philosophy of mind emphasize the radical difference between mind and matter.
http://www.iep.utm.edu/dualism/ (retrieved 30 July 2014)
7 INTERNET ENCYCLOPEDIA OF PHILOSOPHY, Identity Theory, http://www.iep.utm.edu/
identity/ (retrieved 30 July 2014)
22
causal function, and we know that only physical states are causal8.
The reasoning of this communication is based over the consideration that
today, an open and holistic approach of matter-energy, would open the way
to a more complete perception of physicality, as some of the research findings of the field of Quantum Mechanics, open the prospect for an interpretationof physicality, that will be wider than thematerialistic one. Therefore, we
can and must include into the redesign of life, the concept of consciousness.
The future of 21st century civilization, started out through open and interdisciplinary methodological approaches. Using interdisciplinary methodology it will be possible for scientists, intellectuals and artists to collaborate
over their visions, free from the various prejudices and preconceptions, with
all possibilities open in their research. One of these possibilities is the redesign of the human body towards the upgraded, holistic biologic system:
Both matter and life, consist of unit structures whose ordered grouping produces natural wholes which we call bodies, or organisms. This character of
wholeness meets us everywhere and points to something fundamental in
the universe. Holism (from =whole) is the term here coined for this fundamental factor operative towards the creation of wholes in the universe.9.
Why do we need to redesign the human body?
1. ToExploreSpace,forHumanityssake (StephenHawking)
2. BecauseThebodyisobsolete (Stelarc)
3. For the vision ofTelenoia(RoyAscott) as Telenoia celebrates the networked consciousness of global connectivity. It replaces theparanoia
of the old industrial culture: anxious, alienated, secretive and neuroticallyprivate.10.
The above quotes, set as supporting arguments, are selected from the
texts of three contemporary thinkers, without associating them with one another, as they approach the subject of life, in their own (and different) way.
8 DENNIS F. POLIS, God, Science and Mind: The irrationality of Naturalism, page 21, PDF
Electronic Edition, 2012, http://plato.stanford.edu/entries/mind-identity/ (retrieved 30 July 2014)
9 JAN SMUTS (1926). Holism and Evolution. London: McMillan and Co Limited. p. 88.
10 ROY ASCOTT,Technoetic Aesthetics, 100 Terms and Definitions for the Post-biological Era,
1997, https://www.academia.edu/3624684 (retrieved 30 July 2014)
23
1.Explore space,forhumanityssake (StephenHawking)

On April 10, 201311, the eminent British scientist Stephen Hawking12
called for exploration/colonization of Space if our species are to survive for
the next 1000 years. This call supports the suggestion that humans need
to adapt to extraterrestrial conditions and envisions the prospect of travel
across distances of light years. Hawkings call for space exploration also
prompts to, as we shall see further, an urgent process of redesign of the
human body, having as a target the long term survival and adaptation to the
conditions of Space.
One of the issues that preoccupied Science even since the beginning
of the Space Age (1957)13 is the endurance of the human body under the
conditions that exist in Space. Although space tourism is already a growing
industry of the 21st century14 (14), even at the first stages of space colonization, the requirement for extra long stay in Space is apparent.
Image 1: Comparison of the Kepler186 system and the Solar System

(17 April 2014) By NASA Ames/SETI Institute/JPLCaltech [Public domain
or CC0], via Wikimedia Commons http://commons.wikimedia.org/wiki/
File%3AKepler186fComparisonGraphic20140417_improved.jpg
11 ALICIA CHANG, Stephen Hawking: Explore space for humanitys sake PHYS.ORG,
Apr 10, 2013 http://phys.org/news/2013-04-stephen-hawking-explore-space-humanity.html
(retrieved 30 July 2014)
12 St. HAWKING, The official website http://www.hawking.org.uk/ (retrieved 30 July 2014)
13 NASA: HERMAN LORENZI, Study of the Impact of Long-Term Space Travel on the
Astronauts Microbiome (Microbiome) (retrieved 20 November 2014)
14 KEVIN BONSOR, How Space Tourism Works http://science.howstuffworks.com/spacetourism.htm (retrieved 30 July 2014)
24
Let it be indicatively noted that on the 17th of April 2014 the first earth
size planet, Kepler-186f was discovered, where there may be water and
conditions suitable for life, and where in its habitable zone life could be
sustained15,16. Kepler-186f is 490 light years away from Earth and, obviously, the prospective migration may be completed by the descendants of
those who will depart from Earth, unless in the meantime we master Cryonics Practice17, a technique that is already showing promise and put them in
suspended animation18.
Regarding the consequences of the long-term exposition of humans under the conditions of Space, there already are intense studies and experiments underway for both physical and psychological consequences of a return trip to Mars, scheduled for 2030. The trip duration is estimated to 6-8
months and the stay on the red planet is expected to be around 18 months.
A relevant article published on the 27th January 2014 in the New York
Times, states that A typical human being is about 60 percent water, and in the
free fall of space, the bodys fluids float upward, into the chest and the head.
Legs atrophy, faces puff, and pressure inside the skull rises [] The human
body did not evolve to live in space. And how that alien environment changes
the body is not a simple problem, nor is it easily solved. []Then there are
the health problems that still elude doctors more than 50 years after the first
spaceflight. In a finding just five years ago, the eyeballs of at least some astronauts became somewhat squashed.[] The biggest hurdle remains radiation.
[] a zero-gravity environment sets some biochemical process in motion. []
Artificial gravity could be generated by spinning the spacecraft like a merrygo-round, alleviating both the bone loss and the fluid shift. But that would also
add complexity to a mission and raise the potential for a catastrophic accident.
[]Beyond the body, there is also the mind. []Dr. Gary E. Beven, a NASA
psychiatrist, said he was interested in whether anything changed in the next
six months. Were going to be looking for any significant changes in mood, in
15 MIRIAM KRAMER, Space.com, Found! First Earth-Size Planet That Could Support
Life April 17, 2014 http://www.space.com/25530-earthsize-exoplanet-kepler-186f-habitablediscovery.html (retrieved 30 July 2014)
16 NASA: NASAs Kepler Discovers Multiple Planets Orbiting a Pair of Stars (August 28, 2012)
http://history.nasa.gov/sputnik/sputorig.html (retrieved 30 July 2014)
17 BENJAMIN P. BEST, Scientific Justification of Cryonics Practice, Rejuvenation Research
Vol II number 2, 2008, 11(2): 493-503. doi:10.1089/rej.2008.0661. http://www.benbest.com/
cryonics/Scientific_Justification.pdf (retrieved 30 July 2014)
18 HELEN THOMSON, Gunshot victims to be suspended between life and death http://www.
newscientist.com/article/mg22129623.000-gunshot-victims-to-be-suspended-between-life-anddeath.html?full=true#.U80DYkA0-1s (retrieved 30 July 2014)
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sleep, in irritability, in cognition, he said19.

Therefore, although operation Space Conquest started in 1957 with concurrent leaps of space science, the body of Homo sapiens kept evolving in
extremely slow pace. Dr Dennis ONeil states in Early Theories of Evolution: Are we genetically different from our Homo sapiens ancestors who
lived 10-20,000 years ago? The answer is almost certainly yes. In fact, it
is very likely that the rate of evolution for our species has continuously accelerated since the end of the last ice age, roughly 10,000 years ago20.
It is obvious that the body of Modern Homo Sapiens is not currently compatible with the technology developed in the meantime. We are therefore led to
the conclusion that the functions of our body, as has evolved in the past, has
to be redesigned to be compatible by artificial means with the current technology and adapt to the conditions required for Space colonization.
2. The body is obsolete (Stelarc)

Stelarc21 considers the human body as obsolete because:
It cannot cope with the quantity, complexity and quality of information it has
accumulated; it is intimidated by the precision, speed and power of technology and it is biologically ill -equipped to cope with its new extraterrestrial
environment. The body is neither a very efficient nor very durable structure. It
malfunctions often and fatigues quickly; its performance is determined by its
age. It is susceptible to disease and is doomed to a certain and early death.
Its survival parameters are very slim -it can survive only weeks without food,
days without water and minutes without oxygen. The bodys lack of modular
design and its overactive immunological system make it difficult to replace
malfunctioning organs It might be the height of technological folly to consider
the body obsolete in form and function, yet it might be the height of human
realizations. For it is only when the body becomes aware of its present position that it can map its post-evolutionary strategies. It is no longer a matter
19 KENNETH CHANG, Being not made for Space, The New York Times, Jan, 27, 2014
http://www.nytimes.com/2014/01/28/science/bodies-not-made-for-space.html?_r=0, (retrieved
30 July 2014).
20 DENNIS ONEIL, Evolution of Modern Humans: A Survey of the Biological and Cultural
Evolution of Archaic and Modern Homo sapiens, Early Modern Homo sapiens. Behavioral
Sciences Department, Palomar College, San Marcos, California http://anthro.palomar.edu/
homo2/mod_homo_4.htm (retrieved 30 July 2014).
21 STELARC, The official website http://stelarc.org/?catID=20247 (retrieved 30 July 2014).
26
of perpetuating the human species by reproduction, but of enhancing malefemale intercourse by human-machine interface. The body is obsolete22.
Indeed, the overly active immune system of the body, prevents
the hybridization, organ transplants become difficult, while the lack
of modular design of the body is an obstacle to Prosthetic with surgical methods, or impossible for some members and organs.
Stelarc, proposes the redesign of the body considering that It is no longer
meaningful to see the body as a site for the psyche or the social, but rather
as a structure to be monitored and modified - the body not as a subject but
as an object - not an object of desire but as an object for designing.23
He applies his theory through performance art and interdisciplinary
projects, using his own body as a canvas. So far he has applied techniques
and methods of Mechanics (Suspensions), Medicine (Stomach Sculpture),
Robotics (Robotic arm, Robotic third arm, Walking head, Exosceleton, etc),
Informatics in Cyberspace (Involuntary body, Movatar, Pink Body etc), Biotechnology (Ear on Arm) and Second Life (Rotating brains / Beating heart,
with Orchestra Metaverse).
Image 2: Amplified Body, Laser Eyes & Third Hand, Maki Gallery, Tokyo
1985, PhotographerTakatoshi Shinoda, Stelarc. Courtesy of Stelarc
22 STELARC, (Earlier Statements, Obsolete Bodies) http://faculty.ycp.edu/~dweiss/phl224_
human_nature/Stelarc.pdf (retrieved 30 July 2014 from the website of DENNIS M. WEISS,
Professor of Philosophy York College of Pennsylvania http://faculty.ycp.edu/~dweiss/).
23 STELARC, Earlier Statements: Redesigning the body http://stelarc.org/?catID=20317
(retrieved 30 July 2014).
27
Image 3: Ear On Arm, London, Los Angeles, Melbourne 2006

PhotographerNina Sellars, Stelarc, Courtesy of Stelarc
Image 4: Sitting / Swaying: Event for Rock Suspension, Maki Gallery,

Tokyo 1980. PhotographerKeisuke Oki, Stelarc, Courtesy of Stelarc
28
Image 5: Prosthetic Head, Kinetica Art Fair, London

ImageMusion 3D, Stelarc, Courtesy of Stelarc
Image 6: Extract / Insert, Herbert Art Gallery, Coventry 2012

ImageSecond Life Still, Stelarc / Upton / Chafer, Courtesy of Stelarc
Even in his earlier papers, Stelarc suggested that: We are at the end
of philosophy and human physiology. Human thought recedes into the
human past24. For the interpretation of his aversion about the end of phi24 STELARC, Earlier Statements: Obsolete Bodies, http://www.stelarc.va.com.au/earliertexts.
html (retrieved 30 July 2014).
29
losophy and human thought, it may be helpful to consider his vision for
bodys post-Darwinian Evolution, where the most utopian dreams of humanity are emerging as an imperative need: In the extended spacetime of extraterrestrial environments, the body must become immortal
to adapt. Utopian dreams become post-evolutionary imperatives. This is
no mere faustian option nor should there be any frankensteinian fear in tampering with the body25.
Discussing the meaning of Stelarcs characterization of the body as obsolete, Paolo Atzori and Kirk Woolford at an interview on C Theory (1995) comment:[] When Stelarc speaks of the obsolete body he means that the
body must overcome centuries of prejudices and begin to be considered as
an extendible evolutionary structure enhanced with the most disparate technologies, which are more precise, accurate and powerful: the body lacks of
modular design, Technology is what defines the meaning of being human,
its part of being human. Especially living in the information age, the body
is biologically inadequate26.
Referring to the human body, Stelarc asserts that: We have to develop
microbots whose behavior is not pre-programmed, but activated by temperature, blood chemistry, the softness or hardness of tissue and the presence of obstacles in tracts. These robots can then work autonomously on
the body. The biocompatibility of technology is not due to its substance, but
to its scale. Speck-sized robots are easily swallowed and may not even be
sensed. At a nanotech level, machines will navigate and inhabit cellular spaces and manipulate molecular structures to extend the body from within27.
The work and ideas of Stelarc, point to the direction of Transhuman/Posthuman. He doesnt exactly consider himself as a Transhumanist, but he doesnt
mind being classified as an artist of this movement28.
25 STELARC, Earlier Statements:The Hum of the Hybrid http://stelarc.org/?catID=20317

Extended-Body: Interview with Stelarc, 6 1995 http://www.stanford.edu/dept/HPS/stelarc/
a29-extended_body.html (retrieved 30 July 2014).
Extended-Body: Interview with Stelarc, 6 1995 http://www.stanford.edu/dept/HPS/stelarc/
a29-extended_body.html (retrieved 30 July 2014).
28 SOCRATES, interview Stelarc on Singularity 1 on 1: We Are in a Time of Circulating Flesh!,
on August 25, 2013 http://www.singularityweblog.com/stelarc/ (retrieved 30 July 2014).
30
2.1. The design ofTranshuman/Posthuman

Nick Bostrom, philosopher and director of Future of Humanity Institute at Oxford University,29 discusses about Transhumanism in a statement, in 2005: Transhumanism is a loosely defined movement that
has developed gradually over the past two decades, and can be viewed
as an outgrowth of secular humanism and the Enlightenment. It holds
that current human nature is improvable through the use of applied science and other rational methods, which may make it possible to increase
human health-span, extend our intellectual and physical capacities,
and give us increased control over our own mental states and moods.
1.Technologies of concern include not only current ones, like genetic engineering and information technology, but also anticipated future developments such as fully immersive virtual reality, machine-phase nanotechnology, and artificial intelligence30.
Image 7: Radical Life Extention. Courtesy of Dr Natasha Vita-More
29 FUTURE OF HUMANITY INSTITUTE http://www.fhi.ox.ac.uk/ (retrieved 30 July 2014).

30 NICK BOSTROM, In Defense of Posthuman Dignity, PDF Page 1-2, http://www.psy.
vanderbilt.edu/courses/hon182/Posthuman_dignity_Bostrom.pdf (retrieved 30 July 2014)
Bioethics ISSN 0269-9702 (print); 1467-8519 (online), Volume 19 Number 3 2005 Blackwell
Publishing Ltd. 2005, 9600 Garsington Road, Oxford OX4 2DQ, UK and 350 Main Street,
Malden, MA 02148, USA.
31
Natasha Vita-More31, a futurist at the forefront of Transhumanist movement, is involved in the research of improvement and radical extension of the
life span of the human body. She has designed Primo Posthuman, a model
of a future human that resembles more to human than Cyborg (Cybernetic
Organism). It involves the design of a modular body that is self-healing, that
can prevent certain illnesses and continually renew itself, therefore never
aging. She proposes to use the advances of Neuropharmacology for physical and mental illnesses and also a Meta-brain, with powerful memory and
learning abilities capable of solving problems by also taking into account our
emotional state. She takes into account the threat of overpopulation and aging of the human race because of the extreme longevity of Posthuman, but
believes that in future new communities will be established orbiting the Earth
and also in other parts of the solar system. By describing the future, she also
rejects dystopic pessimism, as well as techno-optimism: Neither a technooptimism nor dystopic pessimism is going to resolve the many problems we
face. We live in a time where the possibility for progress or a prosperous
future is stalled by the nagging issues of the world. Techno-optimism is an
oxymoron. How can anyone be blind to the global faltering economy, environmental issues and pollution, poverty, or the continuous wars in the Middle
East? So I suggest a third alternative: The proactionary principle employs
critical thinking to consider these issues and how to deal with them more
carefully. It is optimistic in a practical way she argues32.
2.2 Was Prometheus immoral?
The issue or redesigning the body towards the direction of Transhuman/
Posthuman, raises debates worldwide among the intellectuals so, to make
it easier, lets start with the following rhetorical question: Was mythical Prometheus, who provided fire to the humans, immoral?
The researcher Trijsje Franssen, based on the work by Ihab Hassan33,
reminds us on the Mythological Roots of Transhumanism as follows: Many
transhumanists argue that it is inherently human to master nature, transcend his boundaries and make infinite progress34. In the same document,
31 NATASHA VITA-MORE: http://www.natasha.cc/ (retrieved 30 July 2014).
32 LARS MENSEL, Perfection is a strange concept, conversation with Natasha Vita-More,
The European Magazine, 22.04.2013 http://www.theeuropean-magazine.com/natasha-vitamore--2/6564-the-future-of-humanity (retrieved 30 July 2014).
33 IHAB HASSAN, http://www.ihabhassan.com/ (retrieved 30 July 2014).
34 TRIJSJE FRANSSEN, Prometheus Redivivus, The Mythological Roots of Transhumanism
32
she refers to the view of the philosopher of Justice, Ronald Dworkin (1931
- 2013) regarding the tendency of Human to become equal to God: PlayingGodisindeedplayingwithfire.But that is what we mortals have done
since Prometheus, the patron saint of dangerous discoveries. We play with
fire and take the consequences, because the alternative is cowardice in the
face of the unknown35.
The arguments of the opponents of the Transhumanism/Postumanism
movement are summarized in the dystopian to the subject thesis of Francis
Fukuyama36, who considers as a high threat the possibility of intervention to
the DNA, that proposes the Biotechnological Revolution: Many assume that
the posthuman world will look pretty much like our own-free, equal, prosperous, caring, compassionate- only with better health care, longer lives, and
perhaps more intelligence than today. But the posthuman world could be one
that is far more hierarchical and competitive that the one that currently exists,
and full of social conflict as a result37.
The science writer and editor Ronald Bailey has an opposite view to
Fukuyama, who views as a great threat to our liberal democracy the prospect of Biotechnology altering our human nature and leading us to the Posthuman stage. The science writer does not share Fukuyamas belief that()
Huxley was right, that the most significant threat posed by contemporary
biotechnology is the possibility that it will alter human nature and thereby
move us into a posthuman stage of history38. Bailey, who considers as
bio-conservative the political movement that attempts to limit the scientific research cites:This growing bioconservative political movement aims
to restrict scientific research, ban the development and commercialization of
biotech products and procedures, and deny citizens access to the fruits of
biotech revolution all because biotech revolution threatens their devoutly
held notions of human nature, their social and political views, and their ideas
of proper community control39.He takes an optimistic, positive point of view
https://www.academia.edu/1789552/Prometheus_Redivivus._The_Mythological_Roots_of_
Transhumanism (retrieved 30 July 2014).
35 RONALD DWORKIN,Sovereign Virtue, Cambridge, Massachusetts, 2000, p. 446.
36 FRANCIS FUKUYAMA, Bibliography http://fukuyama.lindosblog.com/ (retrieved 30 July
2014).
37 FRANCIS FUKUYAMA, Our Posthuman Future: Consequences of the Biotechnology
Revolution, ch. Where do we draw red lines p.218, ed. Picador. 2003, ISBN-10: 0312421710.
38 FRANCIS FUKUYAMA Our Posthuman Future: Consequences of the Biotechnology
Revolution, ch. A tale of two dystopias, p. 7, ed. Picador. 2003, ISBN-10: 0312421710.
39
RONALD BAILEY, Liberation Biology: The Scientific and Moral Case for the Biotech
33
in his book. He believes that human beings will gain a new freedom to develop their abilities to the highest degree, without illnesses, disability, or the
threat of premature death.
Let us now see how things are, in their political dimension at present, beyond these contradictory predictions. The evolution of the Darwinian Modern
Homo Sapiens to Transhuman and long-term, (only potentially at present) to
Posthuman, is a matter of design, science, and technology. In the meantime,
Human will not cease to be part of various groups of certain social, economic,
political and philosophical framework. This framework has to develop in such
a way that to consider it as self evident the right of Human to be in a redesigned post-biological body, but in such a way that it wont be under threat of
being controlled over life and death by organized interests of various powers.
Hence, the point of argument for, or against the Bio-Technological Revolution is not whether it is by itself good or bad for humans. And, to return to the
original question, Prometheus was neither moral, nor immoral for stealing
fire from the powerful gods to give it as a gift to the powerless humans. The
point is, to what purpose did the humans use the fire.
2.3. Dystopia, Utopia, and Civil Society
To attempt a wider political approach to the subject ofTranshumanism/
Posthumanism, we have to start from the lectures of Michel Foucault at the
Collge de France in 1975-1976, and use the concepts he introduced to analyze the relationship between state and people regarding the control of life
and death. The concept of Foucaults Biopolitics is connected to Bio-power,
as he describes it, an extension of state power as much on the biological as
also on the political body of a population. According to Foucault, Biopolitics
acts as a control mechanism over the population, and Bio-power is exercised
through the management of the conditions of life, health, reproduction, nutrition etc40.
John McSweeney, a professor of philosophy, in a study on the subject of
Foucaults Biopolitics points out that behind the relationship between state
and people for matters of life there is a battle of survival between two opponents that, according to Foucault, fail to reconcile:Foucault [] contrasts
thehomo oeconomicusas a subject of interests with the traditional political
Revolution, Ch. Biopolitics, page 17, Amherst, New York: Prometheus Books, 2005).
40 MICHEL FOUCAULT, Society Must Be Defended: Lectures at the College de France, 197576 ed. Picador, 2003 and MICHEL FOUCAULT, The Birth of Biopolitics: Lectures at the College
de France, 1978-79 ed. Picador, 2010.
34
subject of rights, arguing that these figures cannot be reconciled and, moreover, that the economic field cannot be mastered by the sovereign. Hence,
homo oeconomicus threatens to radically delimit the reach of sovereignty.Foucault argues that civil society is a modern political construct aimed
at overcoming this threat, one which specifically creates a zone of mediation
between the subject of economic interest and the political subject of rights
(and presumably constitutes the zone of biopolitics).41
In short, there are various questions arising from Fukuyamas dystopia
and Baileys extreme optimism, regarding the consequences of the Biotechnological Revolution in the context of the relationship of various forms of
power/authority and population. The answer seems to be ready to burst out
in a battle-cry, a call to action, of inter-temporal validity, that coincides with
the title of Foucaults lecture series in 1975-76: Society Must Be Defended.
2.4 Bioart and Issues of Ethics and Society
Image 8: Dollys taxidermied remains (5 July 1996 14 February 2003),

the first mammal to be cloned
Wikipediahttp://en.wikipedia.org/wiki/Dolly_%28sheep%29
41 J McSW, Review-The birth of Biopolitics, Lectures at the College de France,

1978-1979 by Michel Foucault, Palgrave Macmillan, 2008 Jul 6th 2010 Online reviews, Volume
14, Issue 27. http://metapsychology.mentalhelp.net/poc/view_doc.php?type=book&id=5628
35
Image 9: The cloning process that produced Dolly Wikipedia

http://en.wikipedia.org/wiki/Dolly_%28sheep%29
When Society Must Be Defended in situations where its threatened by
the misuse of Biotechnology, what may the role of Bioart be today?
The design and methods of upgrading the human body, towards Transhuman/Posthuman assume inter-disciplinary scientific methodology, which
may be described as Bioart, assuming that the term is open to extensions,
improvements and additions. In the gray zone where Bioart is, and where
Arts, Life Sciences, and Philosophy meet together, the matter of Bio-Ethics
takes up an important place as well.
Regarding the limits and research protocols in the bio-technology
laboratory, the general Bio-Ethics issues are summarized in the collective document Introduction to Bioethics42, which is a code of practice on international issues that may arise, such as scientific, medical, social, religious, or even political. Obviously, the constant developments in the area of research will naturally give rise to specific issues,
which are the subject of papers in relevant international conferences.
In addition, HistoryofTranshumanistThoughtby Nick Bostrom43,is alsoan
important source to form a global view on the subject.
42 JOHN BRYANT, LINDA BAGGOT LA VELLE, JOHN SEARLE, Introduction to Bioethics, ed.
John Wiley & Sons, Ltd, England, 2005.
43 NICK BOSTROM, History of Transhumanist Thought, 2005, http://www.jetpress.org/volume14/bostrom.pdf (retrieved 30 July 2014).
36
The issues of Bioethics are rather complex, especially in the area

of Bio Art. Adam Clement reminds us in his paper Bioart, Ethics and
Artworks that: Bioart has received many critics since its first appearanceintheendofthe20thcentury. Indeed, when the symbolic and material
boundaries of humans opened to technology, some considered it as hospitable, however many (especially the general public) found it offensive or
even dangerous. One of the main concerns about bioart is that people view
it as an unnecessary use of living organisms. While the use of living (in vivo)
organisms is often tolerated because they are used for research and thus improving the quality of peoples lives, bioart is often criticized as an uncalledfor practice because of the role of aesthetics in the artworks. In addition,
bioart creates uncertainties among the public because bioart projects such
as eugenics are undertaken by artists and not researchers. Nevertheless it
is important to bear in mind that (bio)artists also need to do research prior
to conducting their experiment/artwork. Furthermore, in theory, money is far
from being the main motivation for artists to conduct an artwork44.
Things become clearer by citing the analysis of Joanna Zylinska, from
her bookBioethics in the Age of New Media45:If big science can ignore
nuclear holocaust and species annihilation, it seems very safe to assume
that concerns about eugenics or any of the other possible flesh catastrophes are not going to be very meaningful in its deliberations about flesh
machinepolicy and practice. Without question, it is in the interest of pancapitalism to rationalize the flesh, and consequently it is in the financial interest of big science to see that this desire manifests itself in the world.
Adam Clement also comments in his above mention paper that: Zylinska
uses in this quote her own definition of pancapitalism:an identifiable network of (evil) forces against and outside which artists can take a clear and
principled stand. The big sciences, as addressed by Zylinska, refers to the
major biotech companies. The quote puts forward a critic about the way the
biotech industry values life and power.46
Joanna Zylinskas proposal regarding the attitude and action of artists,
based on their own principles, leads us tothe matter of consciousness. We
shall have to realize the concepts ofconsciousness andethics from the per44 ADAM CLMENT, Bioart, Ethics and Artworks, (The debate over bioart) April 18, 2012.
http://mastersofmedia.hum.uva.nl/2012/04/18/bioart-ethics-and-artworks/ (retrieved 30 July
2014).
45 JANNA ZLINSKA, Bioethics in the Age of New Media, The MIT Press, Cambridge, Massachusetts, London, England, 2009.
46 ADAM CLMENT, citing Joanna Zylinska in Bioart, Ethics And Artworks,http://mastersofmedia.hum.uva.nl/2012/04/18/bioart-ethics-and-artworks/ (retrieved 30 July 2014).
37
spective of philosophy, freed from various religious interpretations. Just as

the intelligent design is ananachronistic impediment to all fields of Evolution,
also the materialistic view of the world that considers the body as a complex, intelligent machine looks today dogmatic and inadequate. Dogmatic,
because of the advent of Digital Revolution, but mainly due to Quantum Mechanics (which examines the behavior of energy in sub-atomic scale) put
in doubt many certainties that originated from thereality, as perceived by
oursenses. Inadequate, because it does not deal with the contradiction between the technological progress and consciousness of the use of the means
that it provides. Looking at the way technology and science has been used
in recent history by the contemporary human who is unprepared to manage
such power, we may also see the possibility that dystopia may dominate, as
certain futurists predict.
Therefore, what we need today, by studying the redesign of the body,
are mental tools that will counter-act the chance for dystopia. We need a
kind of credible utopia for the future where the methodology and visions
will be based on recent scientific discoveries so that humans can utilize wisely and constructively the advances of information technology,
as well as biotechnology. At this point, lets note that in spite of the large
number of interpretations, the concept of spirituality can be easily misinterpreted if it cannot be perceived beyond various dogmatic notions.
The vision of consciousness networking on a planetary level, combined with
the merging of archaic and modern technologies (ideas that I have selected
from writings of Roy Ascott) is what may be added to the approaches for
aholisticredesign of the body.
3. The Vision OfTelenoia (Roy Ascott)

The reading of the work of the visionary artist and theoretician of Telematics Roy Ascott, requires a constant reference to his own, unique collection
of terms and definitions that has coined over the years. Ascott creates these
new terms from words and concepts that he sources mainly from the ancient
Greek language, to create a new terminology, compatible and relevant to the
post-biological Era.
38
Image 10: Roy Ascott

3.1 Telenoia will replace Paranoia
One of Ascotts visions is Telenoia, which he defines as follows: Telenoia,celebratesthenetworkedconsciousnessofglobalconnectivity.It replaces the paranoia of the old industrial culture: anxious, alienated, secretive
and neurotically private47.
It also helps to understand the concept of Telenoia by adding, from the
same source, the reference to Noetic networks: Our personal neural networks merge with global networks to create a new space of consciousness48.
On the 30th of October 1992, Roy Ascott ran an event at Rotterdam that
included a lecture and 24-hour live, world-wide, interactive participation
through modem and fax. The event also included a tele-concert, in collaboration with ZEROnet. It was an experiment that materialized the vision of
planetary telematic connection, from brain to brain, in an open, collective,
artistic experience, in a collaborative action of a simultaneously spiritual and
political nature. The subject wasTelenoia. Ascott notes about: What TELENOIA is about is telematic connectivity, mind to mind across the globe. Well
use e.mail like Earn, Bitnet, Internet. Well use Fax, Telephone of course,
ISDN if its accessible. If we get hold of Videophones or some means of
47 ROY ASCOTT, Technoetic Aesthetics. 100 Terms and Definitions for the Post-biological Era
(1997) https://www.academia.edu/3624684/TECHNOETIC_AESTHETICS._100_Terms_and_
Definitions_for_the_Post-biological_Era._1997 (retrieved 30 July 2014).
48 ROY ASCOTT, Technoetic Aesthetics.100 Terms and Definitions for the Post-biological Era
(1997) https://www.academia.edu/3624684/TECHNOETIC_AESTHETICS._100_Terms_and_
Definitions_for_the_Post-biological_Era._1997 (retrieved 30 July 2014).
39
sending slow-scan TV, well use video also. We want to make authoring a
collective experience and a collaborative process.We want the art we make
to be opened-ended, unstable and uncertain. Telenoia ias all about that, its
celebratory as well as critical. Its spiritual as well as political. Its endlessly
layered....Its Halloween...49.
At this point, it should be mentioned that Edward A. Shanken, referring
to Roy Ascott writes:Roy Ascott is recognized as the outstanding artist in
the field of telematics according to Frank Popper, the foremost European
historian of art and technology. [] He has defined telematics as computer
mediated communications networking between geographically dispersed individuals and institutions and between the human mind and artificial systems of intelligence and perception50.
3.2 The Grand Convergence
Ascotts vision for the Grand Convergence, sketches a future which
he leads us to imagine within atechnology of the mind that allows access
to universal knowledge: I would like to start by asking you to look a littlebitintothefuture.Imagine a technology of the mind that allows you to
tap into a vast database of universal knowledge, one that reaches deep into
the neuronal zones, cuts through the layers of inhibition laid down by centuries of cultural conditioning, religious prejudice, and political repression.
Imagine the enormous advantage this technology would confer on the individual, otherwise functioning as no more than a cog in a vast and indifferent
social machine, as well as its potential to humanize, unify and transform that
mechanized society into an integrated but highly diversified network of minds
acting from a base of wisdom and insight51.
We will have to appreciate this inter-scientific and inter-cultural Grand
Convergence of art, technology and consciousness by considering the
termSyncretic in the same manner that he uses it in his philosophy for art
(that he views it as being useful when it gives rise to ideas which open new
intellectual, social and spiritual horizons). Ascott uses the termsyncretic be49 ROY ASCOTT ADA (Archive of Digital Art) https://www.digitalartarchive.at/database/general/work/telenoia.html October 92 and https://vimeo.com/46171055.
50 EDWARD A. SHANKEN, From Cybernetics to Telematics, the Art, Pedagogy and Theory of
Roy Ascott, introduction for the book of ROY ASCOTT, Telematic Embrace, Visionary Theories
of Art, Technology, and Consciousness (p. 232).University of California Press, Berkeley, Los
Angeles, London, 2007.
51 ROY ASCOTT, Mind@ large: art, technology and consciousness https://www.academia.
edu/3624713/Mind_at_Large_art_technology_and_consciousness (retrieved 8 August 2014).
40
ing inspired by what Plutarch wrote about the Cretans regarding Syncretism: () to combine against a common enemy after the manner of the
cities of Crete, the act or system of blending, combining or reconciling inharmonious elements52.
Ascotts approach to the Syncretic process is as follows:The syncretic
process is not in any way to be confused with synthesis, in which disparate
things meld into a homogenous whole, thereby losing their individual distinction. Nor is it mere eclecticism, which usually signals a wavering course of
thought of only probable worth. In the syncretic context, extreme differences
are upheld but aligned such that likeness is found amongst unlike things, the
power of each element enriching the power of all others within the array of
their differences. Standing in emphatic distinction to binary opposition, syncretism is a process between different elements, the in-between condition of
being both53.
The convergences he suggests include Media, Cultures, Technologies,
and Realities:The three VRs - virtual, validated and vegetal. This convergence of technologies is accompanied, as I see it by the convergence of two
media, the dry silicon media of the computer, and the wet molecular media
of biological engineering. This Icallmoistmedia54.
We must note that Validated Reality uses the mechanical technology
of action and reaction, based on the classical physics defined by Newtons
Laws. On the other hand, Virtual Reality uses interactive digital technology
which is telematic and immersive, so that the senses of the user are involved
in such a way that it is possible to create a change of her mental state.Vegetal Reality uses psycho-energic plant technology and is entheogenic, a term
that etymologically means Generatingthedivinewithin55.This Plant Technology refers to plants used in spiritual ceremonies. It should be stressed
that Ascott makes a clear and unequivocal distinction between the archaic
plant technology and holy plants with entheogenic properties, to narcotics
and substances that are used for recreation and may damage the brain. His
interest is in a technology of the mind that seeks knowledge and wisdom.
52 1911, Encyclopdia Britannica, volume 26/Syncretism, http://en.wikisource.org/wiki/1911_
Encyclop%C3%A6dia_Britannica/Syncretism (retrieved 30 July 2014).
53 ROY ASCOTT, Syncretic Reality: art, process, and potentiality, Drain Magazine, November
2005, http://drainmag.com/index_nov.htm (retrieved 30 July 2014).
54 ROY ASCOTT, Bridging virtual and vegetal realities, Paris, 30 May 2002
http://technoeticnarcissus.blogspot.gr/2010/05/roy-ascott-biophotonic-flux-ridging.html
55 Entheogen from Dictionary.com: Generating the divine within http://dictionary.reference.
com/browse/Entheogen?s=t (retrieved 30 July 2014).
41
Vegetal Reality belongs to the sphere of the archaic technologies, and

it is knowledge from archaic civilizations, which our modern western culture ignores, or marginalizes. However, the ethnologists/anthropologists who
studied it by living amongst Amazon tribes discovered that shamans had
inexplicably advanced knowledge on matters that western science has discovered only through the modern scientific technology. Jeremy Narby, an
anthropologist, writes that:according to my hypothesis, shamans take their
consciousness down to the molecular level and gain access to biomolecular information. But what actually goes on in the brain/mind of an ayahuasquero when this occurs? What is the nature of a shamans communication
with the animate essences of nature? The clear answer is that more research is needed in consciousness, shamanism, molecular biology, and their
interrelatedness56.
The verification of this hypothesis lies in the convergence of archaic and
modern knowledge, assuming that the commonly perceived technologically
advanced western civilization can overcome its usual skepticism to everything different to its own perception of the world and methodology.
Jeremy Nardy also makes reference to the research in the field of biophysics that confirmed the existence of biophotonics, also aptly called The
Light of Life: Biophoton emission is universal to living organisms and is not
associated with specific organelles. Such emission is strongly correlated
with the cell cycle and other functional states of cells and organisms, and responds to many external stimuli or stresses. Biophotons include electromagnetic radiation from extremely low frequencies - well below the visible range
- and extend all the way up through microwave and radio frequencies on the
other end of the spectrum. Contrary to the common assumption that molecular reactivity is determined by chaotic stimulation of thermal energy, it is the
result of a spatio-temporal manifestation of electromagnetic field energy57.
Roy Ascott notes that: One of the bridges that can usefully link archaic
models of consciousness, such as we find in the forests of the Amazon, are
contemporary scientific practice, employing ideas of quantum coherence,
56 JEREMY NARBY, The Cosmic Serpent: DNA and the Origins of Knowledge, 1995, page
88 http://www.digital-athanor.com/PRISM_ESCAPE/article_usce83.html?id_article=115.
57 MARICELA YIP & PIERRE MADL, The Light of Life, Center for Advanced Studies and
Research in Information and Communication Technologies & Society at the University of
Salzburg; Department of Material Science - Institute of Physics & Biophysics at the University of
Salzburg. http://biophysics.sbg.ac.at/paper/biosem-yip-2006.pdf.
42
can be found in biophotonics research58.

We can therefore quite reasonably conclude that research into the function of Biophotonics may also lead into the scientific interpretation of phenomena that were considered as inexplicable, belonging to the sphere of
Metaphysics. By having established the function of biophotonics, it could be
possible to explain various phenomena of healing and self-healing through
holistic medicine, and also phenomena of non-technological networking
among biological systems, something that can be achieved through the use
of archaic plant technology.
The philosophy of Grand Convergence of Roy Ascott includes Art, Technology, and Spirituality. The vision outlined is the emergence of new modes
of behavior, and a state that he calls planetary consciousness, as follows:I
intend to explore the implications of three VRs and moist media in the context of our symposium: art technology and spirituality; to speculate (I hope
not merely fancifully or irresponsibly) on how this Grand Convergence might
lead to new forms of behavior, possibilities of self-creation, and the emergence of a planetary consciousness59.
Epilogue
There is a valid argument for contemporary human to chart his migration
outside of the planet of his origin that has rendered fragile because of his
anthropocentric notion about the world. This notion fostered, among other
things, the mismatch of technological progress with the consciousness of
utilization of this technology. Quantum Mechanics research into biophotonics leads us into the logical assumption that all biological systems on our
planet are interactively interconnected, not only through the generally accepted food chain of biosystems, but also biologically, through a biophotonics network.
In addition to the matter of consciousness pertaining to the proper utilization of modern technology, there is an evolution gap in modern human that
58 ROY ASCOTT, Biophotonic Flux: bridging virtual and vegetal realities, 2003 https://www.
academia.edu/1081142/Biophotonic_Flux.
59 ROY ASCOTT, The Grand Convergence: art, technology, consciousness in a planetary
perspective, Paris. 30 May 2002 https://www.academia.edu/4972226/The_Grand_
Convergence_art_technology_consciousness_in_a_planetary_perspective (retrieved 30 July
2014).
43
is, between his biological body and contemporary technology. The body is on
the one hand incapable of harmonious coexistence with modern technological applications and, on the other hand, completely incapable of survival in
conditions of outer space, where it plans to colonize. Hence, the biological
body has to be redesigned to respond to high technology and the prospect of
its space habitation. The artificial evolutionary step after Modern Homo Sapiens, is Transhuman, a transitory being with more powerful physical, intellectual and psychological abilities, having as a visionary target, the Posthuman.
The bio-ethics issues arising from the prospect of Transhuman, touch on
both the sphere of society, and also, the evolutionary stage of his consciousness.
Let us now consider the Civil Society, where the in the layer between
those who govern and those who are governed will be the Non Government
Organizations and self-governed communities, in order to protect those who
govern from the populism and the governed from authoritarianism. In an ideal, Planetary Civil Society, a possible counterweight to financial globalization
may be a transcultural planetary network of minds, which will be connected
in a non-hierarchical, and accessible by everybody, interactive network that
combines the silicon technology with Biophotonics.
Following the thoughts of Roy Ascott we may envision the idea of an
internal network of the body which may connect cells, fibres and organs,
through the light of biophotons, which is stored in the cells, using it as the
main network of internal communication of the body. Each biological system
on the planet is equipped with this network, and the possibility of its interconnection with other biological systems is a matter of inter-scientific non-dogmatic research, where modern science has various tools to propose, such as
Nanotechnology, Quantum Field Theory, etc. It is a very exciting vision to be
able to merge the current tele-connection through internet with the biological
systems network of biophotonics. The vision of Roy Ascott and his definition
of the Technoetics concept shows the way:Technoetics is a convergent field
of practice that seeks to explore consciousness and connectivity through
digital, telematic, chemical or spiritual means, embracing both interactive
and psychoactive technologies, and the creative use of moistmedia.(Roy
Ascott 2008).
Technoetic Artsfocuses upon the juncture between art, technology and
the mind cites Ascott. Divisions between academic areas of study, once
rigidly fixed, are gradually dissolving due to developments in science and
cultural practice. This fusion has had a dramatic effect upon the scope of
various disciplines. In particular, the profile of art has radically evolved in our
44
present technological culture60.

All the technologies described above converge in the Technoetic Arts vision, the field where Quantum Field Theory meets the philosophy of Syncretics and the potential of enhanced planetary participatory interconnection.
Roy Ascott states:The coherenceof living systemsmay be due in parttoan
informationnetwork ofbiophotons emitted by DNA molecules. This can be
seen as parallel to the telematic networks that inform the body of the planet.
Nanotechnology can play a significant role in the emergence of a moistmedia substrate for technoetic art.Immaterial connectedness confers a spiritual
dimension on both telematic art and quantum mechanics. Field theory supports the contention that the material body may be a consequence rather
than a cause of consciousness. A technoetic art may locate its ground in the
triangulation of connectivity, syncretism, and field theory.61
If the aim is the maturing of consciousness of contemporary Human, then
Roy Ascotts vision for Telenoia is of defining importance for the holistic redesign of life. This is where society, science and intercultural technologies meet
in the spirit of a new Art, where the post prefix is not required to determine
itself.
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Translated in English by Stamatios Dimitriou, Electrical Engineer, University
of Patras.
50

: Cyborg

Cyborg 60,
,
.
, .
, ,
, , ,
, .
, -
,
, .
, ,
-,
, Cyborg
.
-: , , , Cyborg,
51
Body and personhood in web-based virtual worlds:

from Cyborgs to Avatars
Nefeli Dimitriadi
Abstract
The emergence of the term Cyborg in the 60, related to the first wave
of Cybernetics, establishes the new concept of the extension of the human
body with the use of technologies. The cybernetic organism not only brings
together organic and mechanical elements within a body, but also creates a
new identity of this body.
In parallel, developments in computer technology leads to the creation
of digital environments from which emerges the concept of virtual human
or digital clone, while Internet constitutes a new space of gathering, where
people mainly through role-play games, are invited to choose a way of
representing themselves, firstly in a textual, then visual 2D way, and last by
the three-dimensional representations known as avatars.
The Sanskrit word avatar, meaning descent-incarnation of the divine,
treats the body as a vessel into which the soul migrates during the cycle of
reincarnations, reflecting the Indo-European concept of separation of matter
and spirit.
The changing of a body, acquiring a new body, a body of other materiality
or non-materiality, raise, amongst others, questions about the meaning of
Personhood, from the Cyborg to the Avatars of virtual worlds on the internet.
Keywords: virtual worlds, body, Personhood, Cyborg, avatars
52

, .

,
, :
1. ,
2. ,
() ,
3. - .

Cyborg (cybernetic organism),
60, , Norbert Wiener 40,
.

-
, Katherine Hayles1,
Cyborgs .
Norbert Wiener
Cyborgs 2,

.
Cyborg
, 1 Katherine Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and
Informatics, The University of Chicago Press, Chicago, 1999.
2 Ronald Kline, Where are the Cyborgs in Cybernetics? in Social Studies of Science, SS &
SAGE Publications (Los Angeles, London, New Delhi, Singapore), 2009, . 332-333.
53
, , ,
. ,
-
Gregory Bateson. ,
, Gregory Bateson
(reactor)
,
. Norbert Wiener

3.
Norbert
Wiener . , ,
-, . .

Wiener
, .
, , ,
-
,
4.
( )

. - o: 3 Lafontaine, Lempire cybernetique. Des machines penser la pense machine, Editions du
Seuil, Paris, 2004, . 48.
4 Norbert Wiener, The Human Use of Human Beings: Cybernetics and Society, Boston:
Houghton Mifflin, 1954.
54
,
. Wiener
,

.
, .
( -) ,
,
5,
,
,
.
, ,
.
Julian Bigelow
Norbert Wiener, AA predictor,
. AA predictor, Norbert Wiener
.6 AA
predictor ,
. Wiener,
, , .

, , ,
.
Wiener, 1956 , , ,

, 5 Celine Lafontaine, Lempire cybernetique. Des machines penser la pense machine,
Editions du Seuil, Paris, 2004.
6 Peter Galison, The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision, in
Stefano Franchi and Franscesco Bianchini (editors), The Search for a Theory of Cognition.
Early Mechanisms and New Ideas, Editions Rodopi B. V., Amsterdam New York, 2011, . 60.
55
,
.
,
7.
, Wiener ,
Peter Galison8.
Cyborg, , 1960,
Manfred Clynes Nathan S. Kline
Astronautics Magazine,
, - -, ,
.
Cyborg
.
, ,
,
- .
,
, o o,
o ( animal) ,
.

,
7 Peter Galison, The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision,
in Stefano Franchi and Franscesco Bianchini (editors), The Search for a Theory of Cognition.
Early Mechanisms and New Ideas., Editions Rodopi B. V., Amsterdam New York, 2011, .
61, ( Norbert Wiener, 1956, . 251 252: It does not seem even remotely possible
to eliminate the human element as far as it shows itself in enemy behavior. Therefore, in order
to obtain as complete a mathematical treatment as possible of the over-all control problem, it
is necessary to assimilate the different parts of the system to a single basis, either human or
mechanical. Since our understanding of the mechanical elements of gun pointing appeared to
us to be far ahead of our phsychological understanding, we chose to try to find a mechanical
analogue of the gun pointer and the airplane pilot.)
8 Peter Galison, The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision,
in Stefano Franchi and Franscesco Bianchini (editors), The Search for a Theory of Cognition.
Early Mechanisms and New Ideas, Editions Rodopi B. V., Amsterdam New York, 2011, . 61.
56
, . -hardware
-software, ,
Cyborg -,
, , -,
,
.
, , ,
,
Norbert Wiener 19629.

(
), ,

, ,
..
transhuman,
80 transhumanism10
- -. -
transhuman, .
,
, -,
.
Claire Lafontaine
(download) ,
,
(
, , ,
).

,
9 Norbert Wiener, God & Golem Inc., Paris, Editions de lEclat, 2000, . 59.
10 Rmi Sussan, Les utopies posthumaines, Omniscience, Paris, 2005, . 150.
57
.
Fritjof Capra Tao of
Physics11,
,
Gregory
Bateson, ,
Francisco Varela, ,
,

12.
Claire Lafontaine
,
,
Isabelle Rieusset-Lemarie13.
,
- ,
, ,
, ,
.
Claire Lafontaine
-, ,

, ,

14.
,
- (machines desirantes) Gilles Deleuze
Fellix Guattari, -
11 Fritjof Capra, The Tao of Physics: An Exploration of the Parallels Between Modern Physics
and Eastern Mysticism, Shambhala Publications of Berkeley, California, 1975.
12 Lafontaine, Lempire cybernetique. Des machines penser la pense machine, Editions
du Seuil, Paris, 2004, . 190.
13 Isabelle Rieusset-Lemari, La Socit des Clones lEre de la Reproduction Multimdia,
Actes Sud, Paris, 1999.
du Seuil, Paris, 2004, . 191.
58
Peter Sloterdjik15. Peter Sloterdjik

- Bhagavan Shri Rajneesh ( Peter
Sloterdjik )
( new religious movements, cults)
- 16.
(
, ) (
, )
,
.
, ,
, Claire Lafontaine17. ,
,
(
),
,

, ,
.

, ,
du Seuil, Paris, 2004, . 24. Bernard Faure, Bouddhismes, philosphpies et religions, Peter
Sloredjik, Ni le soleil ni la mort, Pauvert, Paris, 2003,
16 Peter Slotedjik, La mobilisation infinie, ditions Points, Paris, 2000, p. 197.
du Seuil, Paris, 2004, . 192 La deconstruction contemporaine du sujer saccompagne, en
effet, dun individualisme sans bornes et dun repliement sur soi, avec tout ce que cela suppose
de desinvestissement politique. Il faut dire que cette volonte de fuir le monde repond, dans
la societe contemporaine, a un sengiment croisant de vide interieur., : Charles
Taylor, Les Sources du moi. La formation de lidentite moderne, Montreal, Boreal, 1998, Marchel
Gauchet, Le Desenchantement du monde, Paris, Gallimard, 1985.
59

, ,

-
--
, ---
, ,
.
. : . .
, .
, ,
.
, ,
, .18
,
,
-

-, .

, ,
, ,
,
() .

o Norbert Wiener
, Isaac
Asimov , 1939,
18 . , . , , , 2001, . 118.
60
, ,
.
Isaac Asimov
,
.
, , -, 17-18 ( Pascaline
Pascal 1640, Jacques de Vaucanson ..),

, ,
John Von Neumann. John Von
Neumann ,
,
,
.
Katherine Hayles : , 1945 1960, -, 1960 1985,
(virtualite), 1985 .
, Norbert Wiener
- (auto-regulation),
, - (autopoiesis)
Francisco Varela Humberto Maturana, John von Neumann Christopher Langton ,
, -
(auto-evolution) (Artificial Life).
, ,
() .
,

,

.
61
Henri Atlan - ,
,
- . ,
, ,
, -
- 19. Erwin Schrodinger 20
,
-

.

() .
,
( John Von Neuman),
, , ,
,
.
, -

-
,
, .

, , -
-
19 Henri Atlan, Le Vivant Post-Gnomique. Ou Queest-ce que lauto-organisation, Odile
Jacob, Paris, 2011.
20 Erwin Schrodinger, What is Life?, Cambridge University Press, Cambridge, 1967.
62
-
(emotional centre)
.
, ,

.

, Cyborg,
, ,
.
, ,
: ( ) , ( - -
,
, ) .
() .
-
,
(virtual human) (digital clone).
, , (Multi User Dungeons
- MUDs, Massive Multi-user On-line Role Playing Games- MMOPRGs),
, .
- ,
, (.. Active Worlds Second Life)
63

(MMORPGs). , (simulation) ,
(virtual life),
,

, ! (
no-life).
- 1981, Looker,

1987 Marilyn Monroe Humphrey Bogart
, .
Walter Benjamin21 ,
-,

.
, , -

,
.
Isabelle Rieusset-Lemarie22,
( -) , ,
alter ego.
21 Walter Benjamin, Luvre dart a lepoque de sa reproducIbilite technique (1939), in: uvres
III, Paris: Gallimard, 2000.
22 Isabelle Rieusset-Lemarie, La societe des clones a lere de la reproducIon mulImedia,
op. cit.
64
, - (
),
.
, ,
, ,
, , ,
, .
,
(-- )23

.
(), .
,
,
, .

,
.
/ , ,
. (Cyberspace)
cyberpunk Neuromancer ()
William Gibson 1984, -,
, 1992, (WWW)
, Snow Crash
Neal Stephenson avatar. ,
23 E. & B. , , (1939), , , 2008
.18-19.
65
Neal Stephenson, ,
Metaverse,
.
, VRML, , . , ,
.
, :
-, , ( ) , ,
( , maya,
).
, , ,
-,
-,
, , ,
( ).

,
( .. ),
( ..
,
morphing ..),
, ,
. ,
,

,
, , , ( )
.
Isabelle Rieusset-Lemarie, 66
24.
, , Isabelle RieussetLemarie25 - ,
Silicon Valley,

-
,
, ,
,
...
:
, .

, ,
,
, .
,
, ,
, .
.
:
) (
) ) ( ), )
( ).
-.
,
24 Isabelle Rieusset-Lemarie, La societe des clones a lere de la reproducIon mulImedia,
op. cit., . 233, (La notion de reincarnation semble implicitement convoquee pour penser la
possibilite de la reproductibilite de lunicite dun etre au travers de differentes forms.)
25 Isabelle Rieusset-Lemarie, La societe des clones a lere de la reproduction multimedia,
op. cit.
67
(...)
, .
,

.

: ...
. .

, .26

, , .

:
, (
,
) , -
,
, -
, ,
.
,
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,
,
, (
)
26 . , .
, , , 2001, . 208.
68
.

. . :
. , ( ).
. :
, .27

. ,

,
,
.
, (.. ) , ,
, , , .
Peter F. Schmid28
(person-centered approach) ,
Carl Rogers, ;
. ,
, ,
(individual) (person),
, .
, 27 . , .
, , , 2001, . 209.
28 Peter F. Schmid, On Becoming a Person. A Person-Centred Understanding of the Person,
in: Thorne, Brian and Lambers, Elke, Person-Centred Therapy. European Perspectives, Sage,
London, 1998.
69
.
. , - , .
,
, - - ( hardware-software, -, AA Predictor
),
, :
, , ,
.
( , )
, , .
, ,
,
, -
, .

, .
, ,
-, , , Cyborg
.
70

Benjamin, Walter, Luvre dart a lepoque de sa reproducIbilite technique
(dernire version 1939), in: uvres III, Paris: Gallimard, 2000.
Capra, Fritjof, The Tao of Physics: An Exploration of the Parallels Between
Modern Physics and Eastern Mysticism, California: Shambhala Publications
of Berkeley, 1975.
Galison, Peter, The Ontology of the Enemy: Norbert Wiener and the
Cybernetic Vision, in Stefano Franchi and Franscesco Bianchini (editors),
The Search for a Theory of Cognition. Early Mechanisms and New Ideas,
Amsterdam New York: Editions Rodopi B. V., 2011.
Hayles, Katherine, How We Became Posthuman: Virtual Bodies in
Cybernetics, Literature and Informatics, Chicago: The University of Chicago
Press, 1999.
Henri Atlan, Le Vivant Post-Gnomique. Ou Queest-ce que lautoorganisation, Paris: Odile Jacob, 2011.
Kline, Ronald, Where are the Cyborgs in Cybernetics? in Social Studies
of Science, Los Angeles, London, New Delhi, Singapore: SS & SAGE
Publications, 2009
Lafontaine, Celine, Lempire cybernetique: Des machines penser la
pense machine, Paris: Seuil, 2004.
Rieusset-Lemari, Isabelle, La Socit des Clones lEre de la Reproduction
Multimdia, Arles: Actes Sud, 1999.
Schmid, Peter F., On Becoming a Person. A Person-Centred Understanding
of the Person, in: Thorne, Brian and Lambers, Elke, Person-Centred
Therapy. European Perspectives, London: Sage, 1998.
Schrodinger, Erwin, What is Life?, Cambridge: Cambridge University Press,
1967.
Sloterdjik, Peter, La mobilisation infinie, Paris: ditions Points, 2000.
71
Sussan, Rmi, Les utopies posthumaines, Paris: Omniscience, 2005.

Wiener, Norbert, God & Golem Inc., Paris: Editions de lEclat, 2000.
Wiener, Norbert, The Human Use of Human Beings: Cybernetics and Society,
Boston: Houghton Mifflin, 1954.
. , . , : , 2001.
E. & B., , (1939), ,
, 2008.

. ,

72
o E

,

.
.

, .
, .
,
:
. , .

- , .
-: , , , ,
73
Body as Lex con

Fotis Kaggelaris
Abstract
In terms of meta-biology, the soma is a signifier which even though it is
related to the biologic body, it has foreclosed it in order to exist as an image
in logos.
The subject as a consequence of desire, results from the death of the
body and its rise as a signifying image, a lex icon ( ).
Keywords: meta-biology, signifier, image, look
74

;
.
. .
, . , -
.
.
.

,
, ,

.
Alby ,
. Demangeat,
:

.
, , .

, , , .
Lacan. .
.
, , ,
- .
Husserl :

.
75
, . , .
, , .
.
, ,
.
, ,
. , ;
.
Marguery:
, , ,
.
. , Basaglia,
. , ,
,
. Freud , ,
. Laing .
Merleau-Ponty,
. .
, Janet
.
,
. Nietzsche

.
,
Merleau-Ponty, , ,
. , ,
.
.
76
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91

The forkingpaths
Bruno Mendes da Silva
Abstract
In this article we will focus on the first interactive narrative of the project
The Forking Paths: Haze, particularly in the results of the first public
presentation of this short film. The project The Forking Paths aims to create
a trilogy of interactive cinematographic narratives that seek to transfer the
spectator from an extradiegetic level to an intradiegetic level, creating a
metalepsis. The intention is to analyze the possibilities of the spectators
identification as the main character, by the manipulation of the idea of Time
in Cinema. The project The forking paths will be available in different
media such as the Internet, touch sensitive screen devices and conventional
cinemas. We aim to reach this goal trough the use of specific narrative
resources, as well as through the possibility of choice between alternative
image flows.
Keywords: Digital art, Cinema, Interactivity, Time, Narrative
92
:

Bruno Mendes da Silva
To , The Forking Paths

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,
,
. ,
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,
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93
Introduction
The project The forking paths is intended to continue the investigation
started in PhD thesis Eterno Presente, o tempo na contemporaneidade1,
resulting in the publication of the book A mquina Encravada: a questo do
tempo nas relaes entre cinema, banda desenhada e contemporaneidade2.
This primary investigation is the starting point for the present project that
aims to cross-applied investigation and experimental development. In this
new phase, we are trying a new approach, more practical, more iterative and
more reflexive on the issue of time in cinema and in cyberspace. Through
the exhaustive repetition of the images along the narrative, the intention
is to reach different levels of filmic interpretation, where the spectators
identification with the main character could be complete.
Through the immersion in the interactive narrative, we look forward
to creating a mirror effect, where the spectator and the protagonist share
the same identity, becoming the spectator-protagonist. The narrative is
pre-defined, because its structure cant be changed; however the way it
is experimented depends directly on the spectator-protagonist choices.
The exhaustive repetition of the images tries to interfere with the temporal
perception of the spectator-protagonist, which may result in three kinds of
understanding or reactions:
1. the emptying of the image meaning, by loosing the seduction of the
first look;
2. the image valorization, through the discovery of details that have not
been perceived in the early screenings;
3. the addition of details that didnt exist in the first views, by image
manipulation.
This last hypothesis plays with the spectators memory that will be tested
by the impossibility to check the previous existence of the added details in the
image repetition. The repetition of the images will run until the third generation,
meaning that only the last three images will be able to be repeated. Thus,
as the new images appear, those, which were already repeated three times,
1 Eternal Present, time in contemporaneity.
2 The jammed machine, the issue of time in relations between cinema, comics and contemporary (Silva, Bruno, A mquina Encravada: a questo do tempo nas relaes entre cinema,
banda desenhada e contemporaneidade, Vila do Conde: Editorial Novembro, 2010.)
94
will no longer be shown, as we will demonstrate below. Ahead indicate the

results regarding the first public showing of the short film Haze.
Implementation
In the context of the project, an application, available online at
oscaminhosquesebifurcam.com, was created to split the visualization of the
narrative in three different image flows. Therefore, we offer the spectator the
possibility of choosing a specific interpretation inside each story, so that a
higher identification with the protagonist can be achieved. The image flows
are exposed and available in a horizontal perspective. This way the user
will be able to choose between the central flow and the alternative flows (on
the right and on the left of the central flow). This choice can be made with
the cursor control, if the visualization is made in a conventional computer,
or by touch, in the specific case of sensitive screens, like tablets or I-pads
(not available at the moment that this article is been written). However, it
is also available the visualization of this project (namely of the short movie
Haze) in cinemas. In this case the alternative flows can be seen with the
assistance of touch-sensitive devices. The online application offers three
different narratives (discussed below) that can be seen independently or in a
continuous way. Given the need of a higher immersion level in the narrative,
the voice-over is introduced as a morphologic resource. Aside from speaking
directly with the spectator-protagonist, giving advice, hints and opinions, the
voice-over also works as a polish narrator by doing the dubbing of the cues
for all characters. The polish narrator concept is based in the traditional
method of translating foreign films in Poland, where the narrator dubs the
dialogues from all characters in the narrative.
95
Image 1: frame shot 36 B (male co-protagonist from the movie Haze)
Image 2: frame shot 36 A (female co-protagonist)
96
Image 3: frame shot 36 C (detail from the female co-protagonist)

Immersion
Through these technical and conceptual resources, we tried to pass the
spectator of Haze from an extradiegetic level to an intradiegetic level, creating
a metalepsis. It doesnt exist therefore any physical or psychological reference
pre-defined to the protagonist. The spectator can fill those characteristics,
virtually, through its references. After all, imagination, memory, knowledge,
and religion are vectors of virtualization that led us to abandon the physical
presence long before computerization and digital networks3. As in the case
of first person genre videogames, the different flows of images is based in
subjective shot that overlaps the protagonist point of view, replacing it by
the spectators point of view. This solution will enhance a discorporation
of the look. The eyes body is abolished. As it is never felt or revealed it is
technologically neutralized. Thus, the body becomes an excess of baggage
to the traveller of the narrative Haze. It is indented that this situation enables
the spectator-protagonist to live the problems and the conquests, involved in
the filmic narrative, without real, physical or moral consequences. Thereby
the cyberspatial journey, possible in this project, can be understood as a
possibility of technological evolution of film. This achievement of this project
3 Lvy, Pierre. O que o Virtual?. So Paulo: Editora 34. 1995.
97
is based on the production of three narratives forming The forking paths

(being the first, as has been said, Haze), even though they can be watched
separately.
Transposition
For this purpose the tale, as a narrative gender where time is concentrated,
seems to be the perfect form of adaptation to cinema. The concision, the
precision and the density are ideal structural features. That is why we can
find in Italo Calvino4, Jorge Luis Borges5, and Julio Cortzar6 the specified
qualities, considering the form and the subject (time) for potential adaptation.
Although there are formal and contextual guidelines, the choice of the authors
is personal. The first tale If on a winters night a traveller (Haze in the
adapted version) from Italo Calvino could set the three short film morphologic
guidelines: the narrative is fragmented, it has no beginning or end, there
isnt spatial or temporal unity; the ostensive presence of the narrator that
identifies the narratee, trying to transform it in the protagonist; the use of
subjective shot in regard to the protagonists point of view, to accomplish the
narratee immersion in the narrative; and finally the multiple identities offered
to the narratee. The question of parallel time that crystalizes in the present,
where past, present and future converge, is transversal in the works of the
selected authors. Haze is the first short movie in the project The garden of
forking path, enabling the correctness of technical and aesthetic problems
in the other two films. The production of Haze, is concluded and it able to
describe the morphologic specificities of this project, specially the hypothesis
of time fragmentation, the three different flows of the narrative and the use of
an intimist and revealing voice over.
Image Repetition
As has already been mentioned in the introduction, the repetitions of
images until the third generation. That means, each image of each flow
will be exhibited three times to the spectator-protagonist. Was is estimated
that the viewer can react in three different ways while watching the image
4 Calvino, Italo. Se numa noite de Inverno um viajante. Lisboa: Editorial Teorema. 2002.
5 Borges, Jorge Lus. Fices. Lisboa: Viso. 2000.
6 Cortazr, Julio. Final del juego. Buenos Aires: Suma de Letras. 2004.
98
repetitions. The first expectable reaction was related to the emptying of the
meaning of the image. By losing the allure of the first look, the spectatorprotagonist may lose interest in the image. After all, the image interpretation
was previously made and it seems that nothing new and stimulating is showed
in the image repetition. However the spectator-protagonist can also find in
the composition of complex images particularities that werent found in the
first or in the second view. This possibility can bring a bigger intensity to the
comprehension and the immersion of the narrative. The third possibility was
related to image manipulation. In this case the possibilities are potentially
unlimited. In the field of image interpretation, the emergence of elements
that werent present in the first view can be very stimulating to the spectatorprotagonist. The viewer wont be easily able to distinguish which the new
or the old elements are. This variant will play with the spectator-protagonist
memory, which will be questioned permanently. In any of the cases there
is the possibility of reaching a different interpretation degree that can be
more or less intense. In the three-mentioned variants the question of time
is also common, namely the perception of time provided by the exhaustive
repetition of images. The spectator-protagonist will be challenged with the
triple experience of each moment of the narrative. This continuous coming
back to the previous moment will be able to reinforce the time condition,
usually assigned to the filmic narrative (regardless of the existence of
analepsis): the present.
Temporality
In what concerns the time perception, the movement-image, the timeimage and the crystal-image notions, proposed by Deleuze7, does already
show an appeal to the spectators projection into the narrative, against a
compliant and passive attitude. The transition from the movement-image
to the crystal-image implies a new reality perception, no longer based on
the movement, nor in a temporal linear sequence of past, present and
future. So as referred above, the sensory-motor sensations, time indirect
representations, tend to be replaced by exclusively visual and audible
conjunctures, namely the opsign and sonsign, time direct representations.
In this regard, we intend to use visual situations through the subjective
shot and the exhaustive image repetition, looking forward to meeting the
7 Deleuze, Gilles. A Imagem-Tempo. So Paulo: Brasiliense. 1990.
99
idea of opsign. Simultaneously we will try to find a match in the sonsign

idea in situations where the voice over appears without any correspondent
images, speaking directly to the spectator-protagonist, explaining to the
viewer how to understand what is being watched, giving comforting advice to
transform the film viewing in the most pleasant experience, at psychological
and physical levels.
The first public presentation
The first public presentation occurred in July of 2014, in International Film
Festival of Avanca, Portugal. We had to deal with a quantity of technical
problems. The apps for I-phone and I-pad were not ready at that time.
Thus, viewers who wish to use these devices had to look for alternative
devices, such as laptops. However, the main technical problem was related
to the simultaneously startup module. The solution was a countdown so that
the HD image projected on the movie screen could be synchronous with
all devices. Obviously this solution is far from ideal. However, the session
turned out to be realized, and apparently was well received by the spectators
who were able to experience the change between image flows. One issue
that is important to consider is the fact that the spectators have to deal
with two screens simultaneously. This procedure presents some adapting
difficulties, taking into account that the film spectator has acquired this habit.
Regarding the repetition of images, one of the main issues of this project,
is only effective if the spectator remains in the same flow for long enough to
realize the three possibilities presented (the emptying of the image meaning,
the image valorization and the addition of details that didnt exist in the first
views). However, the possibility of moving constantly between flows seems
to have a stronger appeal. Therefore, the vast majority of viewers never had
enough time in the same flow in order to realize the implications of images
repetitions. Nevertheless, the proposals of the images reach the status
of opsign as well as the sounds reach the status of sonsign, seems well
devised. The idea opsign is strengthened, in general terms, by slow motion
images, as well as the fact that they are repeated three times. The sonsign
idea gains a new dimension (beyond the existence of an voice over, that
sometimes has no visual correspondence) trough the sound of trains, always
present, although not visible.
100
Conclusion
The intention of the interaction between the spectator-protagonist and
the narrative (at the level of the image reception) seems to work in this first
experience. The images may lead to a bigger or lower immersion degree.
However at this moment this interactivity cant produce contents by itself,
and this fact can result in a lower communicational exchange between the
work and the user. This situation is directly connected to the fact that the
narrative is linear and closed; there is no space for the direct interference
in the course of the narratives. The opsign idea, as an optical description,
where the spectator (the one who watches) replaces the protagonist (the one
who acts), and the sonsign idea, as an audible description, both referring to
Deleuzes time-image concept, will be the structural basis of The forking
path project. However, the deconstruction of the temporal narrative, built by
the image repetition did not work has expected in the first short film Haze. In
turn the opsign concept is reinforced by the spectator-protagonist idea, which
tries to move the narratee to an intradiegetic level. Trying to immerse the
spectator, reflecting on the protagonist figure, may enable a less slumbering
and stagnated relation, between audience and work. The distance between
male and female gender, subject and predicate, reality and fiction tend,
slowly, to disappear. The first project experience The Forking Paths: Haze,
is especially important to improve the overall concept and to present formal
and technological improvements in the next film.
101
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Bruno Mendes da Silva works at the Centro de Investigao em Artes e
Comunicao), Universidade do Algarve, Portugal.
103

. -

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.
-,

(liveness) . (mixedmedia performance), Ph. Auslander,
.
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Abstract
From the form of corporality left to us the legacy of A. Artaud, body witness of performances we passed on the intangible fluid physicality of the
performances mixed media. The material body of the passions in line with
the virtual body.
The body is the core of the show. One of the key demands of theoretical performing arts is the simultaneous existence and presence of natural
bodies. It raises the question of whether we continue to have performance
accomplishment, once mixed media performances in the boundary line of
the property of the liveness is repealed. Of course the mixed media performances, term proposed by the Ph. Auslander, we have the combination of live
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Through the dynamic created between the living and the intangible
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belongs to the group of this show is coming and bringing with him the mnemonic suitcase. Then pass the memories of the experience of the show and
the next time you renew the experience. This individual cycle modulates
overall collective memory and experience.
eywords: mixed-media performance, liveness, performance art,
memory, performativity
105
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.
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,
.
performance3, ,
.
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.
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. ,
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.

, avatar movatar15, . 16, 17
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. - .
,
( performances/
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.
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.
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.
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.
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.
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.

,

.

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,
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,

, . ,
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21 , ., , . 23.
22 Baudrillard, J., Simulacra and Simulation, . Sheila Faria Glaser, The University of
Michigan Press, Michigan 2008.
111
,
.
- ,
.

,

. 23, 24, 25, 26, ,
.
27 .
,

- .

-.
performance art,
.
23
. , .
24 -,

25 , . , . ,

26 . D. Blair T. Meyer,

, ., [2008]. . 472.
27
. M. Merleau-Ponty
. Merleau-Ponty, M. , . (.), , . 133-147.
112
28.
.
, .

,
. .
. 29.
.
, , .

.
.

. , .
,
.
, , 30.
-- , ,

.
,

28 Baudrillard, J., . , . . ,
- , 1996, . 69.
.
29 , ., . , , 2013, .
231.

.
30 , ., . ,
, 2007, . 229-231.
113
.
, ,
,
.
performers
( ), .
(, , )
,
31
. : ,

32.
:
, ;
,
, , , ;
- - ,
-,
;
. ;
, .33 ;
31 Stanley Fish, .. , . 202-203.

32 , ., , , 2010, .442.
33 , ., . , ,
2013, . 242-251.
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: ., , 2006.
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. : , 2002 (3 ).
, ., . . : , 2002 (3 ).
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, . (.) . .
: , 2004.
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. Non Finito III, . ... ... ...., 2010.
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. : , 2004.
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. : , 2007.
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, 2013.
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, : , 2003.
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performances, Conference on Human Factors in computing systems, 1998.
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:
-
in Theatrological Studies.
117
-:

,
,
.

(Papasarantou, 2013). (embodied interaction),
,
(-/ co-presence).
, (cognitive abilities) (.. , , ),
- (shared awareness). .

- (Papasarantou et al, 2014).

.
( )
.

.
.
-: -, , ,
118
Representational approaches of the notion of co-presence

in mixed environments
Gavrilou Evelyn, Papasarantou Chrissa
Abstract
Previous research focused on analyzing interactive environments
where users body is employed as the primary medium of interaction, as
well as defining an alternative framework for the design process of mixed
environments, namely the notion of mixed embodied presence.
Mixed embodied presence was defined as the coherent sense of presence
that derives from the progressive bodily involvement and interaction of the
user in an environment consisting of physical and digital entities. It is a
measure that is related to the parameters of embodied interaction, the nature
of interaction as well as the mediate or immediate presence of other users in
the interactive environment (co-presence).
Four conditions of co-presence were extracted during an on-going
project that aims to measure mixed embodied presence. One of them is
the echo condition, in which only traces of (previous) bodily activity are
visible to the user. This research is focused on finding the ways that this
condition can be related to the notion of mixed embodied presence. Thus
an investigation on different fields of art is performed in order to find out the
most proper representing mechanism. The main goal is to study and enrich
the parameters that assist the mixture of physical and digital experience in a
coherent lived experience.
Keywords: co-presence, embodiment, interaction, mechanisms of
representation
119

: -
.

.
- : )
-
avatars , )

, ) avatar
, )
1.
-
. .
( )
.
.
-
avatars ( agents) .

1 Papasarantou et al. Analysing mixed embodied presence through the lens of embodiment
and social presence, ( 2014): 76.
120
performance art , . ,

, avatars .

-.

/ /
.
-
-
(social presence).

2, - 3. -
.
-, - --,

4.
O Zhao - :
(embodiment), (immediacy)
, (scale)
, (mobility).
- (proximity)
2 Goffman, . Behavior in public spaces, 1963, Zhao, Shanyang. Toward a taxonomy of
co-presence, (2003): 445.
3 Biocca, Frank and Nowak, Kristine. Plugging your body into the telecommunication system:
Mediated Embodiment, (2001); Gamberini et al, The presence of others in a virtual environment: different collaborative modalities with hybrid resources, ( 2004): 45.
4 Zhao, Shanyang. Toward a taxonomy of co-presence, ( 2003): 452.
121
( ) 5.
-
(embodied property) (shared spatiality). ( ) / (physical
presence) , . 6, (bodily
echo) -.
, -
7.
, /
8.
,
9.
.

-
10.
vom Lehn 11, -
(engagement).
Energy Everywhere
5 ibid., p. 446.
6 ibid.
7 Lombard, Matthew and Ditton, Theresa. At the Heart of It All: The Concept of Telepresence,
(1997).
8 Biocca, Frank. The Cyborgs Dilemma: Progressive Embodiment in Virtual Environments,
(1997): 22.
9 Biocca, Frank and Harms, Chad. Defining and measuring social presence: Contribution to
the Networked Minds Theory and Measure, (2002): 5.
10 Biocca, Frank. The Cyborgs Dilemma: Progressive Embodiment in Virtual Environments,
(1997): 22
11 Vom Lehn, D., Heath, C., Hindmarsh, J. (1999). Discovering Science: Action and Interaction
at the Exhibit-face, Haywood, Naomi and Cairns, Paul . Engagement with an interactive
museum exhibit, (2006): 3.
122
, Haywood
Cairns -
(feedback),

. -
(self-awareness)
(engagement).

12.

.
13. Ijsselsteijn Riva (2003) -
() . -

. , (tasks) .
1. ,
-
( ) ( )

.
()
.
.
Avatar: -:
12 ibid., p. 10.
13 Towell, J., and Towell, E., (1997) Presence in text-based networked virtual environments,
Mantovani, Fabrizia and Castelnuovo, Gianluca. Sense of presence in virtual training:
Enhance skills acquisition and transfer of knowledge through learning experience in virtual environments, ( 2003): 175.
123
.

.
avatar
14.

(cognitive processes)
.
Casanueva Blake15 avatar
- avatar
. Hamilton16
avatar
avatar. 17
avatars (likeness) ,
.
avatar
agent , Nowak Biocca18
.
- Fisher 1997- (virtual
embodiment) (avatar, agent)

.
avatar agents
14 Mantovani, Fabrizia and Castelnuovo, Gianluca. Sense of presence in virtual training: Enhance skills acquisition and transfer of knowledge through learning experience in virtual environments, (2003): 176.
15 Casanueva , Juan, and Blake, Edwin. The effects of group collaboration on presence in a
collaborative virtual environment, (2000): 9.
16 Hamilton, Jilian, G. Identifying with an avatar: a multidisciplinary perspective, (2009): 9.
17 Hamilton, Jilian, G. Identifying with an avatar: a multidisciplinary perspective, (2009): 5.
18 Nowak, Kristine and Biocca, Frank. The effect of agency and anthropomorphism on users
sense of telepresence, copresence, and social presence in virtual environments (2003):11.
124
.
Soeffner Chang, avatars

(agency)19. avatars

20.
,
-
.

. ,
.
. ,

,
/ .
()
-, , .
19 Soeffner, Jan, and Nam Chang. Co-presence in shared virtual environments: avatars beyond the opposition of presence and representation, (2007): 951.
20 ibid., p. 952.
125
1: -

Parviainen (2013),
, ,
( ) ()

.

.

.
,
126
avatars .
,
.
,
. 21.
, .
, .
. ,
.
. .
.
.
Feuillet
1700 Chorgraphy, ou l art de dcrire
la dance, par caractres, figures et signes dmonstratifs.
Feuillet, ,

, . Louppe:
,
, ,
. ,
. :
, ,
22.
Langer Feeling and Form, (
.
21 , . :
, (2007): 22.
22 Louppe, Laurence et al. Traces of Dance, (1994): 14,15.
127
- -.
,
,
. ,
-- (form-in-the-making). ,
, , .
Sartre23 .

.
,
. , , . Sartre
,
.
, ,
- .
-
.
. . , .
,

.
,
, ,

(Baxandall). () ,
23 Sartre, Jean-Paul. The Psychology of Imagination, (1948): 111.
128
.

.
, ,
24.

,
.

.
,

.
, .

, .

. ,
Goodman.
25.
performance art
.
Synchronous Objects William Forsythe One
Flat Thing - Presence Matt Pyke.

24 , .
:
, (2006): 481.
25 ibid., p. 484.
129

,
.
, Johnson / 26.

.

.
Synchronous Objects
, William
Forsythe ,
27. 2009 Synchronous Objects for
One Flat thing, Ohio State University
.
Forsythe28, ,
,
.

.
,
,

26 Johnson, Mark. The body in the mind: The Bodily Basis of Meaning, Imagination, and
Reason, (1987): 19
27 site, The Forsythe company choreography, http://www.theforsythecompany.com/
details.html?&L=1.
28 William Forsythe
watch?v=uQdZBOVYLdI.
discusses
Synchronous
130
Objects,
http://www.youtube.com/

(, )
. .

-
- .
.
Synchronous Objects29, o Forsythe
. ,
,

-
,
.
:
.) Cue Visualizer:
, , . Cue Annotations.
.) Center Sketch: , .

.
.) Counterpoint Tool: , . ,

.
, 2, 3 4.
29 http://synchronousobjects.osu.edu/.
131
2: -
132
3:
133
4:
Presence (video installation)

Presence Matt Pyke Benjamin Millepied
LA Dance Project (Science Museum) 30. 30 http://www.universaleverything.com/projects/presence/.
134
(Tai Chi, Supreme Believers

Transfigurations)
.
,

. , . ,
31.
,

.

.
,
- - .

. .

. .
.
, .
( )
31
(pareidolia)
( ).

. Picasso, Duchamp Kandinsky. (synaesthetic experience) :
, (drawn line).
135
. .

.
.

, ,

.
,
- -
: ,
, .
.
, ,
,

.

o Matt Pyke 32 5.
.
-- .

. ,
32 Matt Pyke 76
.
: , ,
.
.
136

.
/ .
5

Synchronous Objects,
- - -.

.

33
34.
() ,
(avatars / agents).
35.

.
33 Papasarantou, Chrissa. Hybrid Spatial Complexes: the notion of mixed embodied presence, (2013); Papasarantou, Chrissa et al. Analysing mixed embodied presence through the
lens of embodiment and social presence, (2014).
34

. Papasarantou, Chrissa. Hybrid Spatial
Complexes: the notion of mixed embodied presence, (2013): 118.
35 oculus rift, tracker / kinect .
137
5:

36.
.
.
37. /
.

.
(avatars) ()
.
36
.
37
.
138

. avatar38 ,
, () /
.
39 .
.) (, .)
.) / .
,
- - .

- .
.
6 . 5 Forsythe.
avatars
38 Papasarantou, Chrissa et al. Analysing mixed embodied presence through the lens of
embodiment and social presence, (2014): 77.
39 .
139
.
avatar

.
- -
.
-

.
avatars . avatar

. avatars
.
- avatars
avatars
avatar.
.
.
140
6:

7, 8 9
. .
.

,
.
141
7 8 . , .
7 ,
.
. -
,
,

.
8,
. ,

.
.
(kinesphere) ( 1)

( 2).
9
.
.

.

.

.
142

5.
.

. ,
() .
,
.

, .

.

.
,
.
- (-avatar) , .

.
143
7: :
/
144
8: : /
145
9: : /
146

-
.

.

- .

- .

performance art .
, ,

.
, ,

-
.
-

. avatars.

.
-
.
147

Biocca, Frank. The Cyborgs Dilemma: Progressive Embodiment in Virtual
Environments, Journal of Computer-Mediated Communication, 3 (2), 1997:
12-27.
Biocca, Frank and Harms, Chad. Defining and measuring social presence:
Contribution to the Networked Minds Theory and Measure, Media Interface
and Network Design Labs, 2002.
Biocca, Frank and Nowak, Kristine. Plugging your body into the
telecommunication system: Mediated Embodiment, Media Interfaces, and
Social Virtual Environments, In D. Atkin & C. Lin (Eds.), Communication
Technology and Society, 2001.
, . :
, : , futura, 2006:
481-489
, . : ,
_--, 1. , 2007
Casanueva , Juan, and Blake, Edwin. The effects of group collaboration
on presence in a collaborative virtual environment, Proceedings of the
6th Eurographics conference on Virtual Environments, Amsterdam, The
Netherlands, June 01-02, 2000
Gamberini Luciano, Spagnolli Anna, Cottone Paolo., Martinelli Massimiliano,
and Bua Laura. The presence of others in a virtual environment: different
collaborative modalities with hybrid resources, Cognition, Technology &
Work, 6 (1), 2004: 45-48
Hamilton, Jillian. G. Identifying with an avatar: a multidisciplinary
perspective, Proceedings of the Cumulus Conference: 38 South:
Hemispheric Shifts Across Learning, Teaching and Research, Swinburne
University of Technology and and RMIT University, Melbourne, Australia, 1214 November, 2009
148
Haywood, Naomi and Cairns Paul. Engagement with an interactive museum

exhibit, People and Computers XIX The Bigger Picture, proceedings of
HCI, 2006: 113 - 129
IJsselsteijn, Wijnand .A., and Riva, Giuseppe. Being There: The experience
of presence in mediated environments, Being There - Concepts, Effects and
Measurements of User Presence in Synthetic Environments, Amsterdam:
IOS Press. 2003: 3-16, Accessed April 15, 2014: http://www.ijsselsteijn.nl/
papers/beingthere_ch1.pdf
Jennett, Charlene , Cox, Anna, Cairns, Paul, Dhoparee, Samira, Epps,
Andrew, Tijs, Tim and Walton, Alison. Measuring and defining the experience
of immersion in games, interational journal of Human-Computer Studies, 66
(9), September, 2008: 641-661
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Imagination, and Reason, (The University of Chicago Press, Chicago and
London), 1987
Langer, Susanne. Feeling and Form, (Longman Publishing Group), 1977
Lombard, Matthew and Ditton, Theresa. At the Heart of It All: The Concept of
Telepresence, Journal of Computer Mediated Communication, 3 (2), 1997,
Accessed 22 June, 2013: http://jcmc.indiana.edu/vol3/issue2/lombard.html
Louppe Laurence, Dobbels Daniel, Virilio Paul, Thom Rene, Laurenti JeanNoel, and Preston-Dunlop Valerie. Traces of Dance, (Dis Voir Editions,
Paris), 1994
Mantovani, Fabrizia and Castelnuovo, Gianluca. Sense of presence in
virtual training: Enhance skills acquisition and transfer of knowledge through
learning experience in virtual environments, Being There: Concepts, effects
and measurement of user presence in synthetic environments, G. Riva, F.
Davide, W.A IJsselsteijn (Eds.) Ios Press, 2003: 168-180
Nowak, Kristine, and Biocca, Frank. The effect of agency and
anthropomorphism on users sense of telepresence, copresence, and social
presence in virtual environments, Presence, 12 (5), 2003: 481-494
Papasarantou, Chrissa. Hybrid Spatial Complexes: the notion of mixed
embodied presence, in proceedings of the international Biennial Conference
Hybrid City 2013 Subtle Revolution, Athens, 23-25 May, 2013: 117-124
Papasarantou, Chrissa, Rizopoulos, Charalampos, Bourdakis, Vassilis and
Charitos, Dimitris. Analysing mixed embodied presence through the lens
149
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Society for Presence Research 2014 Challenging Presence, Vienna,17-19
March, 2014: 73-79
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Sartre, Jean-Paul. The Psychology of Imagination, (New York), 1948
Soeffner, Jan, and Nam Chang. Co-presence in shared virtual environments:
avatars beyond the opposition of presence and representation, HCI07
Proceedings of the 12th international conference on HCI: interaction design
and usability, 2007: 949-958
Zhao, Shanyang. Toward a taxonomy of co-presence, Presence:
Teleoperators and Virtual Environments, 12, 2003: 445-455
Universal Everything,
http://www.universaleverything.com/projects/presence/
The Forsythe company choreography,
http://www.theforsythecompany.com/details.html?&L=1
William Forsythe discusses Synchronous Objects, http://www.youtube.
com/watch?v=uQdZBOVYLdI
:
, ,
. /
H . /
150
/
Part B / Space and creation
151
-flneur:
,

21 . - , flneur

.
. flneur
Baudelaire (1864) Benjamin (1925), (1957) De Certeau (1984)
Long, o Fulton, o Als, Pope
.
flneur ()
,
.

, .
,
-flneur. ,
,
. ,
Benjamin (1924) flaneur , Schafer (1977) /,
De Certeau (1984)
(weaving). ,
flaneur
,
.
-: , flneur, , , media arts, , , , .
152
Augmenting artist-flneur:
Botanizing, weaving and tuning the geographies
of urban experience
Bill Psarras
Abstract
This paper explores the concept of urban walking as an aesthetic and
sensory embodied media practice in the 21st century city. It focuses on a
contemporary walking artist of the city, the interconnections with the notions
of flanerie and psychogeography as well as the ways different technologies
have augmented his ambulant experience. This paper brings forward the
walking in the city. From Baudelairian (1864) and Benjamian (1925) flneur,
to the Situationists psychogeography and from Michel de Certeaus cultural
tactics to a series of artists such as Long, Fulton, Als and Pope among
others they all understood urban walking as a cultural act.
The notion of urban walking was strongly related with flneur a concept
of great cultural significance, which synopsized the walking observer of
modernity. Psychogeography constituted a more radical consideration
towards the society of the spectacle a meeting platform of art, psychology
and geography. The multiparametric notion of city has rendered it a rich
ocean of sensorial stimuli, situations and data that forms a palette for the
flneur. This paper focuses in three main metaphors, which the author has
altered their meaning in order to critically reflect on contemporary walkingbased artworks. In particular, Benjamins (1924) metaphor of botanizing on
the asphalt, the Schafers (1977) indicative use of tuning and De Certeaus
metaphor on the walking as a weaving of places.
The current paper investigates and suggests potential ways that these
metaphors describe a contemporary augmented flaneur, who either
personally or collectively conducts botanizings on the senses, the emotions
and even on the data-landscapes of the city by mapping material or
immaterial geographies of the 21st century city.
Keywords: Walking as art, flaneur, city, psychogeography, media
arts, senses, metaphors, performativity, intermedia.
153
1 :
; , .
,
. Rebecca Solnit (2001, 3)

, , ,
.
19 20 ,
-,
- . .

19 flaneur . ,
, .

Raymond
Williams (1973, 233).
, ,
.
. De Certeau (1984) ,
, Solnit (2001)
, . (weaving)
paper. ,
. ,

(Mumford
1937, 92). 154

.
Michel Serres (1985)

, .

(tuning)

Schafer (1977).
20 21 ,
Soya (2000, 13)
- (post-metropolis). ,
Relph (1976)
(placelessness). , ,
, (in-between) . Aug (1995) -
(non-places) . ,
, terminals,
, , shopping malls ..
paper. ,
- 21 ;
, ,
flaneur flaneuse ; H ,
flaneur
(Edensor 2000).
paper ,
. Wunderlich (2008,
132) : i) , ii) iii) . ,

, (purposive). , -
- flaneur
155
(discursive). (conceptual)

. ,
-flaneur 21
.
2 : / flneur

flneur () . flaneur
19 20 . flner (). flaneur
, , ,
. Charles Baudelaire (19) Walter Benjamin
(20) flaneur
. 19
The Painter of Modern Life (Baudelaire [1863]
1965) -flaneur [...],

. flaneur, .
, , flaneur
,
.
Fournel (19) flaneur (Forgione
2005, 685).
flaneur . flaneur
Walter Benjamin.
( 20 ), flaneur-
,
, .
Benjamin , . flaneur Benjamin
. Frisby (1994),
156
Benjamin flaneur
. , flaneur ,
.
.
Benjamin flaneur ,
(Dobson 2002).

(botanizing),
paper. flaneur
.
,
.
. flaneur
, ,
. Benjamin
, .
,
flaneur .
Ezra Pound (1934)
Marshall McLuhan (1964) .
20 , flaneur . Benjamin,
. deambulation
,
(Careri 2002, 83).

Andres Breton (Nadja, 1928)
Luis Aragon (Les Paysan de Paris, 1924-26), Brassai (Paris By Night, 1933).
, flaneur .
157
(Gluck 2003)
(Shields 1994) . , flaneur
(Diaconu 2010),
.
3 :
20 (1957-1972), drive ()
(psychogeography). , -
. flaneur ,
. ,
.
drive. Guy Debord (1958)

,
. ,
,
(Janicijevic 2008).
flaneur . ,
-
, Sadler (1998).
,

. ,
.
(Debord 1955).
158

(Naked City 1959) Debord, .
- . (Debord
1958)
(, , , )
. ,
(Careri 2002) - (Psarras 2013,
419). 1970
.
4 :
flaneur
20 . ,
1970 Richard Long Hamish
Fulton , Fulton (walking as art). (, , , , ,
..) Vito Acconci (Following
Piece 1969), Mona Hatoum (Roadworks 1985), Abramovic-Ulay
(Great Wall Walk 1988) o Stephan Willats (Walking Together For the First
Time 1993). -
, flaneur .
, , -
(essay-film) Ian Sinclair (Lights Out For The Territory 1997), J.G. Ballard
(Concrete Island 1974), Will Self (Psychogeography 2007) Patrick Keiller
(London 1994; Robinson in Space 1997) -
- .
159
5 : flneur 21

paper
flaneur flaneuse1 21 ; , flaneur
; , (Pinder 2005)
.
- , .
3 : (botanizing), (weaving) / (tuning),
Benjamin (1920s), De
Certeau (1984) Schafer (1977). , (Psarras 2013, 416) . Lakoff &
Johnson (1980, 4),
. ,
.
.
Francis Alys
, Francis Als
, . The Collector (1992) Magnetic Shoes
(1994), o Als
,
.
. Als . Railings (2001)
1 paper flaneur,

. Streetwalking the Metropolis (Parsons, 2000).
160
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De Certeau), .
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-. Pope
,
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() flaneur Pope .
flaneur
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Memory Marathon (2009),
(2012). Pope
- . Myers (2010) 161

(Lee & Ingold, 2006). Pope

(Myers, 2010).
Memory Marathon , (Psarras 2014) .
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.

. Memory Marathon
talking while walking (Anderson, 2004) . McLuhan
(Bull & Back 2003)
Pope flaneur
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.
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,
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..)
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Kubisch ,
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, .

. ,
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flanerie,
, . Benjamin
,
.
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flaneur
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- - .
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flaneur . Bio Mapping Emotion Mapping
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, (Nold 2009).

164
21 .
Nold flaneur

- (Psarras 2014, 6).
.
Pope Nold , , .
Nold, Bio Mapping
/
flaneur. flaneur -
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Bill Psarras
,
flaneur 2 .
.
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5
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. (performative)
. Walking Portraits: Performing Ashpalts,
(weaving) (tuning) .
(performativity)
(entanglement) , , ,
(Salter 2010).
,
- .
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(2013), .
-
8 , ,
. - , GPS.
2.

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.

David Howes (2004)
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(
)
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(, ), GPS
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. ,
flaneur Benjamin, , .
6 :
1990 21
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Benjamin (1999)
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, , . flaneur
.
(Gluck 2003, 70) . , flaneur flaneuse , -,
. , - flaneur (Kramer &
Short 2011, 337). ,
flaneur , , .
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2013 Art Circuit Walk On: 40 Years of Art Walking
(Long, Fulton, Alys, Pope, Abramovic,
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:
(1985)
(PhD) Goldsmiths University of London ( AHRC).
21 ,
.
172

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173
Sharing - Dividing - Distribution of space

Vasileios Bouzas
Abstract
The proposed interactive installation in a non place, such as a subway
station comprises an imprint of a keyboards grid on the floor, sensors that
sense the passengers movements on the imprinted characters, audio
transmitters and layered transparent boxes-beehives of information which
contain classified information of cartography. The passenger movements
control the audio output of the speakers and the lighting of the boxes.
Depending on his/her position and direction, and the duration of his/
her staying, each passenger reveals, in conjunction with other ones, an
audiovisual signal of certain duration related to his memory. The body
movements uncover a situationist mapping. Each user is the carrier of the
light and is in constant interaction with parts of the real space through his
body. At the same time, his/her idol appears on the reflective boxed surface.
The soundscape, which responds to the spatial arrangement of the bodies,
is refined by the randomness of their movement and their positions in space.
Harmony chords are emitted when certain key-words are activated by the
users movements or their presence on corresponding positions.
Keywords:Body, Space, Slices through space, Map, Interaction
174

.

. Michel
de Certeau
, , . , Certeau,
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1 Marc Auge, Non Places: ntroduction to an nthropology of Supermodernity, p.85.
2 ibid., p.77-78.
3 ibid., p.79.
175
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THESSALONIKI_PANW_KATW/097620FC3B0E1F54E0440003BA2D133C
5 Marc Auge, Non Places: ntroduction to an nthropology of Supermodernity, p.94.
6 ibid., p.103
176
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Marc Auge, Non Places: ntroduction to an nthropology of Supermodernity, p.110-111.
8 ibid.
177
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9 http://portal.tee.gr/portal/page/portal/teetkm/DRASTHRIOTHTES/OMADESERGASIAS/
THESSALONIKI_PANW_KATW/097620FC3B0E1F54E0440003BA2D133C
10 Certea, Michel. The Practice of Everyday Life. University of California Press, Berkeley,
Walking in the city, p.108.
183
. ,
. ,
,
.
,
.

, . Immanuel , , ,
. Maurice Blanchot
, .11

.

.

.

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.
. Milosz .

11 Distancing and Foregrounding: Visual Art, Memory and Place, Paper published in: Vol.2,
Cartographies of Culture: Memory, Space, Representation. Peter Lang Publishing, Frankfurt am
Main: Germany, 2008.
184

.
.

.
.

.

: , , .. Charles Cros
:
,
,
. .12
.
, Gaston Bachelard.
,
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12 Bachelard, Gaston. . , , .114.
185
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(ambiences)
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186
Doreen Massey
:
( ) .13

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,
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.
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. (hypermedia maps)
searched
terms
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13 Doreen Massey. , . , .183.
187
,
.

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(wilfried hou je bek).
14 http://www.artroom7.com/ATTIKOMETRO/SIMULATIONRANDOM2ab.swf.
188

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. 190

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Doreen, Massey. , .
,2009.
Marc, Auge. Non Places: ntroduction to nthropology of Super
modernity. Verso,1995.
Gaston, Bachelard, , , 1992.
Pierre, Levy. , , 1999.
, . . , 1990.
Certeau, Michel. The Practice of Everyday Life. Berkeley: University of California Press, 1984.
191
Distancing and Foregrounding: Visual Art, Memory and Place, paper pub
lished in: Vol.2, Cartographies of Culture: Memory, Space, Representation.
Peter Lang Publishing, Frankfurt am Main: Germany, 2008.
Margot, Lovejoy. Postmodern Currents, Art and Artists in the Age of Elec-
tronic Media, Prentice Hall, 1992.
:

. , (1989), , (, 1997), Master in Fine Arts, School of Art and Design, Digital
Arts-Pratt Institute (2001), IIE.

.
, (Memorial Hall-Pratt Institute, Manhattan Center, Leonardo Education
and Art Forum, BAC Festival of Contemporary Art in Barcelona).
.

192

, -
, Maurice Merleau Ponty.
Merleau
Ponty
- .
Ponty . ,
.

.
.
. ,
,
.

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, , ,
, .

1.
-: , , Merleau Ponty,
1 Lefebvre, Henri, The Production of Space. .361
193
The Thinking Body in Corporeal Space

Stavros Moutzourellis
Abstract
The present work aims to raise concern and set queries about the eviction
of the body and the corporeal experience out of the contemporary thinking and
production of architecture and space as a consequence of the philosophical
separation of mind and body. Finally, it attempts suggestions and answers
through interpretations of the beliefs of the French phenomenologist
philosopher of the last century, Maurice Merleau Ponty.
Many scholars are that the greatest contribution of Merleau Ponty in
philosophy and the hallmark of the difference in the field of phenomenology
is to highlight the potential of the human body as a non- intellectual rather
conscious relationship to its environment.
Pontys key point is a thinking body without the mediation of mind. The
body on the one hand is identified as a first element that moves, lives and
gets influenced by the space and on the other hand like a space-producing
element. Beyond the senses as a means of taking in environment, body is
the perceptive and creative factor reconstructed by the tangible space that
composes.
No picture is just a picture. No sound is just a sound. A picture is never
an univocal representation of an image on the retina or a play of a sound
inside the mind as the sensory indivisible body intervenes it is the result
of the experience of the body and it wouldnt have existed if it hadnt been
preceded by the experience and the reality of the body in the world. The
perception of space from the thinking body though is not the composition
within the body or within the mind of sensual components been provided by
every single sense but a united and simultaneous process been instantly
and constantly redefined and back fed from all the senses into perception.
Therefore, through the physical intelligence is suggested not only an
interpretation of our body but as well for the space itself. Our task is to create
spaces that encourage poetic thought of the body2.
Keywords: Architecture, Phenomenology, Merleau Ponty, Thinking
Body, Embodied Space, Cognition
2 ibid.
194
.

.

.
,
.
. , ,

.

,

- 3.

4
,
:
.

.

1971, , Christian Norberg-Schulz Existence, Space
and Architecture . ,
3 Daskalaki M. The Parkour Organisation: inhabitation of corporate spaces, .59-60.
4 Christian Norberg- Schulz, o J. Pallasmaa, o Alberto Perez-Gomez, Vittorio Gregotti, Henri Lefebvre ..
195
5 ,
6.
Alberto Perez-Gomez

7.
, , , , .8
, Gomez,
,

9. Perez-Gomez .
, , Henri Lefebvre, .
, ,

.10 , ,
11.
,
, Juhani Pallasmaa:
, ,
,
5 Norberg-Schulz, Christian. Existence, Space and Architecture. London: Praeger Publishers,

1971. .16.
6 Existence, Space and Architecture, .16.
7 Stephen, Parcell Perez-Gomez, Alberto. Chora: Intervals in the Philosophy of Architecture. 2004, . 4.
8 This is Not Architecture: Media Constructions, K. Rattenbury, .3, Routledge, 2002.
: -
.
9 This is Not Architecture: Media Constructions, .5.
10 Lefebvre, Henri. The Production of Space. [.] Donald Nicholson-Smith. Massachusetts: Wiley-Blackwell Publishing, 2000 (1991).
11 The Production of Space. .361.
196
.12
The Eyes of the Skin13 2005, Pallasmaa

. :

.14
, Peter Zumthor 1999,
Thinking Architecture15, .
Merleau Ponty
Maurice Merleau-Ponty 20 Jean-Paul Sartre 16. 1945
. , , Edmund Husserl Martin Heidegger17.
18 Merleau Ponty

- .
,

19. -
12 Pallasmaa, Juhanni. The Eyes of The Skin, Architecture and the Senses. West Sussex:
Wiley-Academy, 2008 (2005). .5.
13 . .
14 Eyes of the skin: Architecture and the Senses, J. Pallasmaa, .19, Academy Edition,
1996.
15 . .
16 , R. Sokolowski, 232-3,
, 2003.
17 Wikipedia contributors, Maurice Merleau-Ponty, Wikipedia, The Free Encyclopedia, http://
en.wikipedia.org.
18 he Cambridge Companion to Merleau-Ponty, . T. Carman M. Hansen, Cambridge
University Press, 2005.
19 , .xiv.
197
20.
, ,
, . Merleau-Ponty :
[...] , , ,
.21

, , 22.
, Merleau-Ponty .
23.
Merleau Ponty .
, , Merleau
Ponty -
. Merleau Ponty,
,
. , ,
.
. , , : ) )
, , .
. : 20 The Basic Problems of Phenomenology, M. Heidegger, .254, Indiana University Press,
Indiana 1982.
21 Phenomenology of Perception, M. Merleau-Ponty, .vii, Routledge & Kegan Paul,
1962.
22 M. Ponty, Phenomenology of Perception, .257.
198
. .
,
.
-
, .

, 24.
,
. , . ,
( ) , ,
.

. Isaac Newton, ,
,
, . , Gottfried Leibniz,
,
.
Leibniz . , Immanuel Kant
.

. , ,

,
25.
, , ;
, ; Merleau-Ponty
.
, ,
24 19 ,
, .
25 Wikipedia: Space.
199
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.Ponty
- ,
.

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26.
,
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.
. Andrew Ballantyne
,
27.
,
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.
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) ,
26 spatialite corporelle, M. Ponty, Phenomenologie de la perception, 1945,

Impression Bussiere Camedan Imprimeries , Saint- Amand, . 2001, .172.
27 Architecture Theory; a Reader in Philosophy and Culture Continuum, A. Ballantyne,
.254, 2005.
200
28.

, , , , , ,
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.29

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30.
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28 H. Dreyfus, University of California The Current Relevance of Merleau-Pontys Phenomenology of Embodiment, H.
Dreyfus, The Electronic Journal of Analytic Philosophy, 1996.
29 Peter Zumthor, Thinking Architecture, .58.
30 Peter Zumthor, Thinking Architecture, .10.
201
.

.
, , Jurgen Mayer NunoErin
. 31.

Merleau Ponty , , , 32.
, , . , , ,

. , Ponty, , ,
,
.
.
Merleau Ponty , , ,
33.
.

.

. , , . ,
, ,
31 Michelle, Addington Daniel, Schodek. Smart Materials and New Technologies: For the
architecture and design professions. Oxford: Architectural Press/ Elsevier, 2005. .87.
202
. , , - -

, , . , , , ,
,
. , ,
34

.
,
Ponty 35.
Ponty .
H
, 36. Ponty
.

.
, ,

. ,

.37 38 , ,
.
, ,
Ponty
34 Berendzen J. C. Coping With Nonconceptualism, . 162.
35 : Le Visible e l Invisible, suivi de notes de travail,.: Claude Lefort,
Paris, Gallimard, 1968.
36 : Prose of the World.
37 Internet Encyclopedia of Philosophy, http://www.iep.utm.edu/merleau/, Jack Reynolds, 2005
38 Martin Dillon Merleau Pontys Ontology.
203

- .
- --()- --() Ponty

. Ponty ,
,
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,
Ponty

.
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.39

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39 M. Ponty, Visible and Invisible, .147-8.
204
, .

.40
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.
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.
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.
Ponty

,
41.
.

,
.42
. ,
,
, 43
, Ponty
41 Carman, Hansen, The Cambridge Companion to Merleau Ponty, .109-110.
42 Carman, Hansen, The Cambridge Companion to Merleau Ponty, .181.
43 M. Ponty, Visible and Invisible, . 146.
205
. , ,
,

.

Maurice Merleau Ponty
, .
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.
Ponty
,
, . .
.
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44 Marshall Guide, 126-127.
206
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Ponty .

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45.
, (
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46. Ponty :
, .
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46
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. Phenomenology of Perception, .139.
207

.48

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50. , , .

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51. Ponty 52 (afresh).
53
, , .
. ,
, .
.
,
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.
49 Ernesto Spinelli, Practicing Existential Psychotherapy. The Relational World, . 41-43.
50 Retention and Protention, Husserl.
51 M. Ponty, Phenomenology of Perception, . 80-81.
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65 M. Ponty, Phenomenology of Perception, . 97.
66 Gallagher S., How The Body Shapes The Mind, .67.
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220

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Hodie Compete Sunt Giovanni Gablieli,
.

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221
Musical Discipline: corporeality as a spatial convention

on the interpretation of the musical event
Vasilis Aronidis
Abstract
In an attempt to investigate the relationship of the architecture of the
musical and spatial fields with the human body, I will endeavor to approach
the first concepts relative to how the sound syntax, converses and interacts
with the space and the people.
The search for the mechanisms by which the particular sound and
architectural creations mutually influence each other will be the basic aim
of this paper. Arguing that architecture and music are both involved in the
way a musical experience is structured and also in creating a particular
type of audience, I will briefly present three cases in which different types of
audiences and different structures of pieces relate to different architecture of
space and different somatic behavior.
hrough the analysis of these examples, I will endeavor to define a palette
of conceptual tools for understanding corporeality as a spatial convention,
but also the role of the space which boxes in the audience experience as a
field where bodily disciplines are imposed.
Keywords: music, architecture, corporeality, discipline
.
222
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1 Goy, Richard. (1997) Venice: The City and its Architecture. London: Phaidon, 60
2 Demus, Otto. (1960) The Church of San Marco in Venice. Washington DC: Dumbarton
Oaks,59
224
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Riverside, 134
Riverside, 134
225
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. Homer Ulrich7 :
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Adrian Willaert,
1527 1562.
Egon Kenton 8
Giovanni . Giovanni Gabrieli , .
, , Svmphoniae Sacrae.
Gabrieli , 1598
1615. Hodie completi sunt
Svmphoniae Sacrae

.
5 Goy, Richard. (1997) Venice: The City and its Architecture. London: Phaidon, 159.
6 Kenton, Egon. (1967) Life and Works of Giovanni Gabrieli. Ed.Amen Carapetyan, Ph.D.
American Institute of Musicology, 64.
7 Ulrich, Homer. (1973) A Survey of Choral Music. New York: Harcourt Brace Jovanovich, 45.
8 Kenton, Egon. (1967) Life and Works of Giovanni Gabrieli. Ed.Amen Carapetyan, Ph.D.
American Institute of Musicology, 259.
226
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9 Landon, H. C. Robbins and Norwich, John Julius. (1991) Five Centuries of Music in Venice.
London: Thames and Hudson, 38.
Riverside, 134.
11 Egner, Lisa. Architectural Acoustics. http:/online.physics.uiuc.edu/StudentReports/Fall03/
Lisa_egner/Architectural_Acoustics_Lisa_Egner.pdf, 35.
12 Goy, Richard. (1997) Venice: The City and its Architecture. London: Phaidon, 154.
227
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18 Byrne, David. (2012) How Music Works. San Francisco: McSweeneys, 24.
19 Byrne, David. (2012) How Music Works, 90.
233
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20 Brown, David P. (2006) Noise Orders: jazz, improvisation and architecture. Minneapolis:
University of Minnesota Press, 24.
234
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21 Brown, David P. (2006) Noise Orders, 24.
235
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Aboriginals.
22 Corbett, John (1995) Ephemera Underscored: Writing around Free Impro-visation, in Jazz
among the Discourses, edited by Krin Gabbard, Durham, N.C.: Duke University Press, 227.
236
,
,

,
,

, .
.
,
,
.
237

Brown, David P. Noise Orders: jazz, improvisation and architecture.
Minneapolis: University of Minnesota Press, 2006.
Byrne, David. How Music Works. San Francisco: McSweeneys 2006.
Carver, Anthony F. Cori Spezzati: The Development of Sacred Polychoral
Music to the Time of Schtz. Cambridge: Cambridge UP, 1988.
Corbett, John. Ephemera Underscored: Writing around Free Improvisation,
in Jazz among the Discourses, edited by Krin Gabbard, Durham, N.C.: Duke
Demus, Otto. The Church of San Marco in Venice. Washington DC: Dumbarton
Oaks,1960.
Egner, Lisa. Architectural Acoustics. http:/online.physics.uiuc.edu/
StudentReports/Fall03/ Lisa_egner/Architectural_Acoustics_Lisa_Egner.pdf.
Goy, Richard. Venice: The City and its Architecture. London: Phaidon, 1997.
Kenton, Egon. Life and Works of Giovanni Gabrieli. Ed.Amen Carapetyan,
Ph.D. American Institute of Musicology, 1967.
Landon, H. C. Robbins and Norwich, John Julius. Five Centuries of Music in
Venice. London: Thames and Hudson, 1991.
Ulrich, Homer. A Survey of Choral Music. New York: Harcourt Brace
Jovanovich, 1973.
Vio, Ettore, ed. The Basilica of St. Mark in Venice. Trans. Huw Evans. New
York: Riverside,1990.
. : . :
196.
, . , . (1
1987) : , 1990.
:
(Dipl. MSc), , , vasilis@
brothersinplugs.com
238
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239
The Use of Voice as an Expansion of the Flute Timbre

Spectrum in Electroacoustic Music
Myrto Korkokiou, Andreas Mniestris,
Apostolos Loufopoulos
bstract
The flute sound is produced by the breath mechanism, which is a
three-step process for wind players (inhalation-suspension-exhalation), in
combination with the instruments body. The open hole embouchure allows
flutist to use a variety of vocal sounds. These sounds could be unaltered
vocal sounds (recitation, singing, use of phonemes and syllables, cries,
sigh), combined sounds (singing and playing simultaneously), soundless
vocal sounds (whispers, murmurs, wind sounds, noisy breath, voice and
unvoiced consonants, complex of consonants) and percussive sounds
(articulation techniques with open or close embouchure such as tonguestop, tongue-pizzicato, flutter-tonguing, beat-boxing). The combination of the
above vocal sound effects with electronic means expand further the flute
sound, creating, on one hand timbral alterations of the primal flute sound,
and on the other hand harmonic sound layers or harmony of timbres. In
the Electroacoustic Music field, a mixture of vocal-flute sounds can be used
to create polyphonic layers and rhythmic motifs, enriching sound spectrum.
The timbre exploration of vocal sounds leads to a constantly developing
flute technique, which can be creatively embodied in the language of the
Electroacoustic Music.
Keywords: voice, breath, flute, electroacoustic music, electronic

means, live sound processing, contemporary techniques, sound.
240

20
19 ,
,
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.
.
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1. ,
, .

1936, Edgar Varese (1883-1965) Density 21.5 . 1958 Luciano Berio (1925-2003) Sequenza
2, 3.
1
,
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, (multiphonics)
(.. , , ) ,
..
2 (timbral trills)
.
3 multiphonics
.
. Sequenza
.
Bruno Bartolozzi (1911-1980) 1967 New Sounds for Woodwinds,

.
Bartolozzi,
241
Berio4
- ,
, . / , Severino
Gazzelloni (1919-1992), Aurle Nicolet (1926), Harvey Sollberger(1938),
Robert Aitken (1939),
. , Lied (1971) Arthur Holliger,
, Voice (1971) Toru Takemitsu

Noh , o 5 Noh6. /
, Pierre-Yves Artaud (1946),
Roberto Fabbriciani (1949) Robert Dick (1950), Wil Offermans (1957) ,

.

A
, ,

. ,
,

,
.
Bruno. New Sounds for Woodwinds (1982).
4 O Berio 1958 2002 Sequenzes (- XIV)
. Sequenza (1965) .
5 Takemitsu ,
Noh.
6 Noh (
Noh), .
.
242
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7,
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7 , . (1992:43).
8 Greene, Alan. New Voice: How to Sing and Speak Properly (1975:8).
9 .
243
E 1: , (Saariaho,
K.: NoaNoa, 1992).
E 2: (), (Takemitsu,T.: Voice, 1971).
E 3: ,
(, A. /, M.: Machine Gun, 2013).
244

.

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.
E 4: , (Dick, R.: Tone Development through Extended

Techniques,1986).
E 5:
, (Dick, R.: Lookout, 1989).
245
E 6: ,
(Saariaho, K.: NoaNoa, 1992).

, .
,
10.
11, 12, 13 /.

, . ,
10 .
11 aiolian sounds wind tones.
12 Whistle tones. , ,
.
,

( ghost tones).
13 Alan Greene
(B, D, F, G, K, P, S, Z), Greene, Alan. New Voice: How to Sing and Speak Properly
(1991:100). , , ,
, , , .
246
,
.

,

. ,
.
.
E 7: , (Risset, J.C,:
Passages, 1982).
E 8:
.
,
(Lippe,C.: Music for flute and ISPW, 1994).
247
14 . ,
,

.
.
E 9: , (Dick,R.: Tone Development through Extended

Techniques,1986).
10: ,
, (Risset:Passages,1982)
14 whistle tones, whisper tones.
248
. , 15 ,

.

.
. /
(/)
( ).
11: Wil
Offermans (Offermans,W.: For the contemporary flutist,1992).
12: . , (, A./, M.: Machine Gun, 2013).
15 .
249

, .

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, .

.
flutter-tongue ,

, .
. ,

,
.
13: , (Davidovsky, .: Synchronisms No 1,1963).
250
(tongue stop tongue ram)

.
. .
,

.
14: , (Dick, R.: Tone

Development through Extended Techniques,1986).
(tongue-pizzicato tongue-slap) 16,

.
,
.

15: , (, ./, .: Behaviours, 2007).

16 .
251
beatboxing17. E
(drum beats)
- (hi-hat, snare,
bass drum18), , ,
. ,
: hi-hat, snare, bass drum.
M
. H

, .
16: beat box (Barlow,.,

Beatbox Flute in 2011).
, . ,
beatboxing .
.
17 O
rap.
18 Hi-hat, foot-cymbal, .
Basss-Drum, - (drum set)
. Snare
-
252
17: , (Pattillo,G., Three Beats for

Beatbox Flute, 2011).
H

. , ,
, ,
.
,
.

, ,
Musica su due Dimensioni (1958) Bruno Maderna (1920-1973)
Synchronisms .1 (1962) Mario Davidovsky (1934), -- - .
, . Karlheinz
Stockhausen (1928-2007)
Gesang der Jnglinge (1955-56). Luciano Berio (1925253
2003) Cathy Berberian (1925-1983)

. Omaggio a Joyce
(1958) , Ulysses James Joyce,
19,
, . Visage (1961),
, ,
. ,
,

. , 1970 ,

. 1971 Heinz Holliger (1939)
Lied 20
, . , -

.
George Crumb (1929) Vox Balaenae ,
(1971)
,
. .
19 11 (Bronze by gold heard the hoofirons, steelyrining

imperthnthn thnthnthn .)
.
20 Lied .
254
18: , (Crumbs,G.:Vox
Balaenae,1971).
Kajia Saariaho (1952) Laconisme de laile
21 (1982)
.
22, .

.
,
. J.C. Risset (1938)
Passages (1982)
,

.
, ,

,
21 reverb (Lexicon PCM81)
Harmonizers Yamaha SPX90. Laconisme de laile, (http://www.saariaho.org/
Laconisme-electronics.html). ,
.
22 Oiseaux (Birds) Saint-John
Perse (1887-1975): Ignorants de leur ombre, et ne sachant de mort que se qui s en consume
d immortel au bruit lointain des grandes eaux, ils passent, nous laissant, et nous ne sommes
plus les mmes. Ils sont l espace travers d une seule pense. Laconisme de l aile! Hoitenga,
2011: p.1.
255
. ,
,
.
19: : o
,
flutter-tongue (2 ), (Risset, J.C.:
Passages, 1982).
Risset
,
.

()
. O Karlheinz Stockhausen (19281007) 1983-1984 Kathinkas Chant
as Lucifers Reqviem23 24.
23 Samstag aus Licht
1983. 1984 Kathinka Pasveer .
.
24 4X.
256

, .
, , .
,

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.

, .
Kaija Saariaho Noa Noa 25
(1992) ,

.

.
20: . , (Saariaho,K.:
NoaNoa, 1992).
25 (samples),
Max/Msp.
257
Cort Lippe (1953) Music for flute and ISPW26 (1994) , 27

.
,
28.
.
,
, ,
.
21: ( , tongue stop, , ), (Lippe,C.: Music for flute and ISPW, 1994).
(1974) (1974)
Machine Gun (2013)

,
26 ISPW , 1988 1991 IRCAM 1991
Eric Lindermann.
27 /SP,

. Music for flute and ISPW (score-following)
.
28 Lippe, Music for flute and ISPW (score), 1994: p.2.
258
(beat) .
,
.
, 29, , ,
. beatboxing ,
.
22:
beatboxing (, ./, .: Machine Gun, 2013).
,
,
,
.
23:
, (, ./, .: Machine Gun, 2013).
29 , .
259

,
.
,
,

.

,
, . 20
,
, , .. : O Louis Fleury
(1878-1926)30 La flte de Pan Syrinx (1913) Claude Debussy
(1862-1918),
.
Gabriel Mourey (1865-1943)31 Psych
.
George Crumb Vox Ballanae (1971)
, 32. Stockhausen, ,

. Mauricio Kagel (1931-2008),
(1945) ..
.
30 Debussy La flte de Pan.

31 O C. Debussy Psych Gabriel Mouray.
. Debussy, Syrinx. (: G
Henle Verlag, 1994, 3).
32 Crumb, Vox Ballanae, (New York: Peters, 1972, 3).
260
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( ) . , , /

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, ,
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.
261

, . . : ,
1992.
Barlow,Shawn.Beatbox Flute in 2011. Flute Focus, December 27, 2011.
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:
,
, . / London
College of Music and Media, London.
, . , ,
, .
, . , , /, City University, London.
264
:

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,
[EPHMEE]
(diffusion) / /
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265
The ERHMEE sound projection system: Present and

evolution prospects of the body gesture sound
projection relationship in the real-time diffusion of
acousmatic music
Philippos Theocharidis, Andreas Mniestris
Abstract
During the last years has been developing a system for
the diffusion of electroacoustic music that is adjusted accordingly to the
developments of the digital technologies of recording, processing and
reproduction of sound. This system includes an interface for the control
of spatialization based on the established paradigm, i.e. the use of faders
to control the sound projection. This paradigm imposes a non-intuitive
relationship between the physical gesture and the movement and/
or localization of the diffused sonic material. On the other hand, existing
technology allows us to utilise alternative devices, such as touch screens,
different types of motion sensors etc. where we can collect information
coming from bodily gestures of the user, allowing the definition of a new
paradigm ofspatialisation control. In this paper we present a brief description
of the diffusion system we currently use in EPHMEE for our concerts and
we propose a number of improvements based on the redefinition of the
relationship between body - gesture - soundspatialisation in order torender
diffusing sound in the concert moreergonomic and intuitive.
Keywords: body, movement, interface, sound spatialization
266

, ,

20 , Musique
concrte Elektronische Musik.
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Gesang der Jnglinge Stockhausen Turenas (Chowning
1971), surround .
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(potentiomtre despace),
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,
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Kocher 2006), (Wakefield 2006) Max (cycling74),
Wave Field Synthesis (Berkhout, de Vries Vogel 1993),
,
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de le Hogue 2009)
,
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14 Center for New Music & Audio Technologies, University of California at Berkeley
279
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282

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284
/
Part C / Borders and Tensions
285
SKIN-less
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.

, Sensitive to Pleasure Sonia Cillari,
Protomembrana Marce-li Antunez nimatronic sculpture Female
figure Jordan Wolfson.
-: , , , ,
286
SKIN-less
Polyxeni Mantzou, Xenofon Bitsikas
Abstract
At first there is only skin. The proposed paper examines the skin as
a model for understanding our relation to our world. From the wholeness
of the body, which at the moment of creation is encountered in the skin,
progressively the body develops in its complexity, unfolding differences and
specifications. The skin is not only the deepest but furthermore, the oldest.
We are originated from ectoderm and endoderm, which in a later moment
peel away, in order to give way to a third surface, the mesoderm. And it is
from these three dermal layers that everything else is formed, internal organs,
blood muscles, connective tissues and the skeleton. (Taylor, 1998) Once the
body has come into being, the skin becomes a mediator, a way to interact
with our surroundings. But when other mediators, such as contemporary
interfaces, become more and more determinant, the skin is left hanging, it
becomes a rather awkward packaging, a detached envelope; very adaptable,
very interactive, very controllable and changeable, but not very essential.
Artists have pointed out this obsolescence of the skin, which of course is
linked to an obsolescence of the proper body. Digital interfaces facilitate
a relation to our surroundings that is not mediated by the skin. The skins
characteristics, its porosity, its complexity, its aliveness and its adaptability,
become therefore characteristics of non-functional use. Interfaces operate
without necessity of other mediators. The subject contracts and shrivels in an
unspecified interior, immaterial and non-localizable. When the skin becomes
obsolete, the body is no longer a definitive condition for the existence. The
subjects last habitat becomes its proper code. Exteriority and interiority are
mere impressions. New possibilities arise.
This new corporeal condition is analyzed through theoretical approaches
as well as artistic works, such as Sonia Cillaris Sensitive to Pleasure,
Marce-li Antunezs Protomembrana and Jordan Wolfsons animatronic
sculpture, titledFemale figure.
Keywords: Skin, interface, body, code, art.
287
SKIN-less
contes indiens , Mallarm
, .
, Clement Rosset,
.
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, .

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Mallarm, ,
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288
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60 raw material,
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.
289
Aziz + Cucher, Interior #2, 1999. C-print, 40 x 30 inches, Aziz + Cucher, Interior #1
[ http://www.azizcucher.net/project/interiors ]
Aziz + Cucher,
Interior Studies . , , , ,
, .
.
, ,

, .
.
. , ,
,
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.

. ,
. , , ,

, , , . , ,

.

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.
290
S
onia Cillari Sensitive to Pleasure, 2010-11 [ http://www.soniacillari.net/Sensitive_to_
Pleasure.htm]
Sensitive to Pleasure 2010-11,

Sonia Cillari. ambisonic ,
,
,
, ,
.
,
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,
, . . .

, .

-, ,

,
.
. ,
, ,
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, ,
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291
.
,
.
J ordan Wolfson, Female figure 2014. nimatronic sculpture
[ http://www.davidzwirner.com/exhibition/jordan-wolfson-3/, http://www.davidzwirner.
com/exhibition/jordan-wolfson-3/?view=video ]
animatronic sculpture Female figure 2014

Jordan Wolfson,
2014. .

. , .
, .
, .
, .
.
.
,
,
. .
, .

, .
,
, , , -, , ,

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292
, , ,
,
.
, , ,
.
, .
.
. ,
, -
, , .
Rosset Clement. . . : . , 2008 (Clement Rosset. The Real and its Double
Translated by Chris Turner, Seagull Books).
Rabinowitz Sophie. Aziz + Cucher: Landscapes and Interiors. ssay in a
catalogue of Aziz + Cucher works for an exhibition at Artereal Gallery,
Sydney, 2006.
Wegenstein Bernadette. Getting Under the Skin: The Body And Media
Theory. ew York: MIT Press, 2006.
:
H
.
(pmantzou@arch.duth.gr).

. .
(xbitsika@uoi.gr).
293
:
,

-
Jean-Luc Nancy, , ,

; ,
, ,
, .
,
, , ,
. ;
Freud , - .
,
.
-: , , , ,
294
In the constellation of a fission:

Inquiries on a contemporary notion of the subject,
between art and theory
Athanasia Vidali-Soula
Abstract
If for Jean-Luc Nancy, image is a physical surface carrying a densification
of significance, beyond its material dimension, could one argue something
similar for the lively surface of human skin? Apparent exteriority that, while
initially appears performing a mere function of coverage, under a closer look,
emerges bearing the suggestive signs of a body language, whose profound
desire is to dissolve any boundaries of outside and inside. It is a seductive
language of absence, that invites us in a fusion, which by negating the
existence of separate entities, and thus units of significance, calls us in a
symphysis, that could become our antidote against the solitary fortification
in individuality. What could such an act mean for the human subject? After
Freuds definition of subjectivity as a fathomless unity, here comes the time of
its fracture in infinite parallel-horizontal relations. A violent celebratory scene
of death and rebirth, where Reason is illuminated as one of the multiple
prisms through which the human condition is made visible.
Keywords: subject, image, surface, skin, exteriority.
295

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1 Cadava Ed, Connor P., Nancy J.-L. , ed. , Who comes after the subject? (N.York: Routledge,
1991) 1.
2 Cadava, Connor, Nancy, Who comes after the subject?, 4.
296
:
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Marie-Jose Mondzain, ,
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, 4 Cadava, Connor, Nancy, Who comes after the subject?, 8.
5 Heidegger, Martin. T , . . (: 2006).
6 ,
() .
,
. . Monroe eardsley,
(: , 1989), 65.
7 Mondzain, Marie-Jos. Limage peut-elle tuer?, (Paris: Bayard Centurion, 2002).
297
. ,
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(.)8

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. Hegel
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, . u fond des images, Jean Luc-Nancy
. , . ,
Nancy, , , ,
, . 8 Baudrillar, Jean. , . . (: , 2009) 83.
9 Hegel, Georg. , . . (: , 2000) 29.
298

, . : , ,

1: Hans Bellmer, , 1965.

.

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299
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10 Nancy, Jean-Luc. The Ground of the image, . J.Fort (N. York: Fordham University Press,
2005) 4.
11 Nancy, The Ground of the image, 10-11.
300
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12 Nancy, The Ground of the image, 22.
13 Nancy, The Ground of the image, 26.
301
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Nancy, ,
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303
Anzieu - 14.
Anzieu Freud,
, .
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Freud ,
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, Freud, Anzieu .
Freud, ,
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14 Anzieu, Didi. -, . . , , , 2003.
15 Anzieu, -, 154.
304
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( , , Benttelheim). To ,
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16 Ibid., p 185.
305
2: , Locale IV, 2001.
306

, Kristeva, ,
,
. Kristeva, , , , - (abject)
,
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, Freud,
,
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Kristeva, ,
Freud, . ,
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307
Kristeva, les corp propre17,

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17 Kristeva, Julia. Powers of Horror: An Essay on Abjection, . (N. York: Columbia
University Press, 1984) 71.
18 Kristeva, Powers of Horror, 4.
308
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19 Kristeva, Powers of Horror, 13.
309
3: Janine Antoni, Lick and Lather, 1993. . Rocor, https://www.

flickr.com/photos/rocor/5593285175/in/photostream/
310

, Kristeva, Klossowski, -
.
,
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. Deleuze, lossowski,

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20 lossowski, Pierre. , . . (: Futura, 2005) 52.
311
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4: Andr Kertesz, Distorions, 1933.

http://frankzumbach.files.wordpress.com/2010/11/andre-kertesz3330.jpg
21 Baudrillard, Jean. , . . (: , 2009) 19.
22 Baudrillard, , 22.
312
,

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23
ataille, ,
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. , , 23 Klossowski, Pierre. Un si funeste desir [M ], (Paris: Gallimard, 1963).
24 Bataille, George. O E, . . (: , 2001) 27.
313
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S.
Agacinsky to fall in love.
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26 Bataille, O E, 30.
27 Ibid., 33.
314
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Deleuze Guattari,
, , Hegel, ,
, .
, Deleuze Guattari,
,
(lines
of flight, machinic assemblanges)29
28 Bataille, O E, 132.
29 Deleuze, Gilles Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia,
. B. Massumi, (London:Continuum International Publishing Group, 2004) 4.
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Anzieu, Didi. -, . . , : , 2003.
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eardsley, Monroe. , .,
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lossowski, Pierre. , . . , :
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Nancy, Jean-Luc. The Ground of the image, . J.Fort, N.York: Fordham

Taminiaux, Jacques. Art and truth in Schopenhauer and Nietzsche.Man
and World 20.1 (1987): 85-102.
:
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.
326

Adam Zaretsky
Abstract
What happens to morphological fields, at different stages of developmental
commitments, when the body is shuffled or the tissues are liquefied? By
comparing transgenic art and tissue culture art to transhuman inherited genetic modification of the human genome (IGM), questions are raised about
dissective aesthetics. These questions are further complicated through a
contrast of perceptions. How do organicists, sadists and the object-beings
in question view anatomical deformation during embryological development.
This is a reference text meant to show how bioart public labs underscore the
emotional landscape inherent in tissue and explant culture, transgenic embryology while providing novel perspectives on the sculpting of posthuman
embryonic stem cells (hESC) and their kin.
And it is here that developmental biology cannot disavow its cleavage
from the lifeworld, as it is. The life world appears, forms, fuses and networks
without stewardship. Compared to the expiring use of non-humans in our
labs, (e.g., eels, goats and human cell cultures), the microsurgical, toxicological and genetic alterations of embryos that lead to actual born-into bodies of transgenic organisms carry more continuance, some of them live on
semi-freely even after meddling.IGM(inherited genetic modification of the
Human genome) offers the human versions of this artistic isolation and pain,
captivity and denial. This is the bargain that experimental research entails for
the object of processional desire.
Keywords: Bioart, VASTAL, Developmental Biology, IGM, hESC,
embryo, semi-living, HeLa, Emotional Plague, Transhuman, Organicism,
Zombiology
327

Adam Zaretsky
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), ,

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328
Image 1: Primary Cells, meatscape micrograph, Adam Zaretsky, 2007

329
Semi-Living Gore Relations

Ever updated, standard rhetorical ploys manufacture public opinion towards acceptance of certain varieties of alchemical life fashioning. Some
artists interested in biology find these industrial metaphors worth analyzing,
critiquing and even inventing. Recognition quotient is one of the variables
that drives science. In the scientific world-view, comprehension of the flesh
is seen as one of todays hip and worthy projects. Both physical and rhetorical dissection of the unknown open up the enigmatic and expose it to
the light of objectivism. Scientific conundrums, be they problems, people or
ideas, presenting as enigmatic, are deigned to be reduced, whittled down
with Occams Razor into an elegant palatability. But, this whittling down with
biomedia, as both the subject and the proof of presumed universal elegance,
leads to projects which some find disgusting. This is one reason why the
perceptions of the bodies of biotech beg to be interpreted both aesthetically
and linguistically by non-scientists.
Semi-living and partial life can be seen as interchangeable
terms. However each term has its own nuanced meaning. The
entities we have termed Semi-Livings are usually shaped to
forms that are not recognizable as being part of any body in
particular, whereas partial life can be recognized as parts (i.e.,
an ear) of the whole of a living being.1
The line Zurr draws between body parts2 and unrecognizable glop in tissue culture art coincides with James Elkins readings of the eccentricities of
anatomical illustration. According to Elkins, many of the pictured explanations that follow the incisive act of opening bodies are subterfuge: emotional
reductionisms. The Cut Flesh chapter of Elkins book Pictures of the Body:
Pain and Metamorphosis, in the section titled Toward Pain and Incoherence,
informs our artistic dissection of this flawed scientism. Elkins introduces to us
the possibility of non-evasive or minimally evasive body interrogation.
1 Zurr, Ionat. Growing Semi-Living Art. PhD diss., University of Western Australia 2009., 124.
2 For instance the partials harmonizing between the historical uses of the stray ear: Dali, Lynch,
Vacanti and Stelarc.
330
Organs and cut flesh are virtually excluded from fine art in
favor of the abstract pairing of skin and skeleton, and in medical
illustrations they are largely replaced by subtle abstractions that
turn the body towards the domains of geometry, architecture
or sculpture or towards the weightlessness of the cathode
ray tube. Metaphorically, such images elide the real hazards of
analytic thought. Yet there are pictures that do justice to the fact
that dissective thinking is harsh and uncompromising and takes
place in a domain of radical complexity.3
Elkins claims that in the process of letting go of clarity, artworks that
come to terms with viscera4 may touch on necrophilia and sadomasochism
but they also showcase the, chaos of fat and poorly dissected tissues which
are referred to as a potential displacement of desire for the skin onto the
viscera a dangerous and illicit attraction, specific to medical illustration5
Nonetheless, this type of fetishism for the expressionistic, amorphous or
messy body is not entirely inappropriate in the arts. Many of us may be keen
to exhibit the abject of the body wherein the nearly unrecognizable abstract
patterns of tissue vessels, skin flaps, fascial webs, bags of fat, lymph networks, and neighboring organs6 remain unedited. And, in the case of semiliving art, the gore of lifes own improvisation is required.
3 James Elkins, Pictures of the Body: Pain and Metamorphosis. Stanford: Stanford University
Press, 1999, 134.
4 Ibid., 137.
5 Ibid., 139.
6 Ibid.
331
Image 2: Remnants, from Lunatic Fringe plasmid tattooing of pheasant embryo lab, DIY-IGM Art: Intentional Genetically Modified Human Germline Arts,
Mellon Institute of Industrial Research, Carnegie Mellon University, Spring
2012, video: copyright 2012 DEEPSPEED media,
http://www.deepspeedmedia.com/diy-embryology/
332
Much of contemporary art tends to make fun of the analytical compulsion

to see accurately, except when the stubborn desire to make everything representable, is taken to an extreme that is also close to the pathological.7 But,
beyond super realisms goals, Elkins suggests that perception of the arts is
relegated, by the arts, to the land of Krafft-Ebing8.
Interestingly, what Elkins suggests is that this line of flight away from
acute body representations is a way of avoiding love. Love of life incubates a
petite love of death. In particular, the love of pain converts signs of sensation
unto cessation. As Elkins says:
The consequences of not avoiding the viscera are dire, to really see the
inside of the body is to risk falling in love with the heady proximity of death,
with the incomprehensible tangle of unnamable vessels and chunks of fat,
and with the seductive textures of the smooth sensitive membranes more
delicate than ordinary skin, more sensitive and vulnerable, and above all
more redolent of the most intense pain.9
This form of getting real brings us to the crux of the matter. In Elkins
reading, sadism and violence is a part of art process, a process of destruction, deformation and the forced melding of objects and their relations. Often,
in the arts, this is the mere denting of conceptions, like an underfunded mind
control experiment. But, in terms of live bioart, the denting is impressed,
branded, both through nature and nurture, into the being under construction.
Acting Stuck, Here Like Them: under the scope, under the gun, under the knife
It was during the VASTAL tissue culture lab that we broke the original,
performative seal on the VASTAL Virginarium. Since then it has been used
for over twelve VASTAL performances, none of which are reviewed as a part
of this dissertation. Considering the cellular sculpture lab as an initiation rite
for the Virginarium as a space for performance art, we need to compare how
our bodies may be used in future IGM with the slain materialism of those
goat corpses dissected in the lab and their mirrors in the ampules of HeLa
cells.
7 Ibid.
8 Dr. R. von Krafft-Ebing, Psychopathia Sexualis, with especial reference to Contrary Sexual
Instinct: A Medico-Legal Study, trans. Charles Gilbert Chaddock, (Philadelphia: F. A. Davis
Company, 1894).
9 Ibid.
333
Image 3: Document, VASTAL: The Vivoarts School for Transgenic Aesthetics, Ltd. By Zaretsky, Adam, Ph.D., Dissertation, RPI, 2012, pg. 128-149,
http://gradworks.umi.com/35/30/3530013.html, Adam Zaretsky and Oron
Catts. Cell Biology and Tissue Culture Arts: Body Alterity Lab. Held in the
Theatrum Anatomicum, de Waag. Amsterdam, Netherlands: VASTAL, September 15, 2009. http://www.youtube.com/watch?v=qfOVEf7tVm0
334
As in many scapegoat driven sacrificial rites, the goat bodies stood in

as metaphorical humans, killed specifically for dissection. If anatomical exploration was very freely explored on such a traditional sacrificial animal, it
was not with any particular respect for the dead or the purpose for which the
life had been razed. That is, unless you think producing enigmatic vials of
semi-living continuance is anything but unsettling the allowance for decay of
finished lives. In my opinion, the coordinating of such performative dominations and submissions, with public involvement, aids in a reinterpretation and
impersonation of the role of human experimentalist working on either human
subjects or other non-human non-objects. But, the artifice or re-enactment
of biopolitical compulsions (e.g., surgical demolition and hereditary control)
falls short of achieving our goals.
Forgotten sharps
If we think about the terminal aesthetics of Stahl Stenslie, from the article
Terminal Sex: Future Sex as Art Practice all of Life-Art it is a matter of perceiving inside the art. The experience comes from inside the being.10 So,
apparently, the sadism of bioart is sympathetic sadism, heartfelt torment or
relational abusiveness. This jives with Hal Fosters somewhat inane argument as to why Hans Belmers dysmorphic and bound up poupees are fascist sexism in form but not intention. He explains why sadistic art hurts the
creator more than the experimental art (organismic or still) using Batailles
concept of heterogeneity in these terms:
Such a desublimatory account of representation contradicts
our most cherished narratives of the history of art, indeed of
civilization: that it develops through instinctual sublimation, cognitive refinement, technical progression and so on.11
I would advance that the avoidance of heterogeneity is not such a prediscursive need for fascisms ugly constitution. This is because, the supposed authoritarian personality of fascist structures, the paranoid figure who
10 Stenslie, Stahl. Terminal Sex: Future Sex as Art Practice In Next Sex. Ars Electronica
2000, Festival for Art, Technology and Society. Gerfried Stocker, Ed. and Christine Schopf, Ed.
Austria: Springer-Verlag, 2000, 206-210.
11 Foster, Hal. Compulsive Beauty. Cambridge: MIT Press, 1996, pg. 113.
335
compels singular speech and forbids promiscuous signification12 is always

already alive, steeped in chaotic partials, shard relations, fragmented, hyperfluidic.
Image 4: Data Scarification, Making a field of interpretation for Biosolar Cells,

in collaboration with Leiden University, Ministry of Education, Culture and Science and BioSolar Cells, Amsterdam, http://www.biosolarcells.nl/onderzoek/
maatschappelijke-aspecten/artist-in-lab-making-a-field-of-interpretation-forbiosolar-cells.html, http://ja-natuurlijk.com/site2/adam-zaretsky/
12 Ibid., pg. 211.
336
To assume that mere capability of evasion refutes the ability of an equal

embrace of the self-same double-binds (held only partially under avoidance),
without a psychotic break, is nave. This is in direct contradiction to Willhelm
Reichs reading of fascism. According to Klaus Theweleit in his book Male
Fantasies: Women, Floods, Bodies, History13, this is the problem of fascism.
Theweleit asks, if the social is desire manifested under material conditions,
how are we to measure the direction of out gassing release against both
inner and outer repression?14 It seems, no matter how incomplete or unanalyzed, character itself may be armored with a flexible, psychic chiton. This
implies, contrary to Willhelm Reichs theories of fascism and desire, that the
body armored exoskeleton of a fascist ego need not be a rigid, fractured,
crumbling, farce of a fascist ego, but something quite worse.
This leads us to ask why, under certain circumstances, desiring-production can turn into murdering-production. This is one
question that is appropriate to the reality of fascism. Any question is inappropriate if it takes the form of recriminatory laments
in which the masses are assumed to have not seen through
fascism, to have rejected communism for no other reason than
their own slow-wittedness, or because they are attracted - for
real, objective reasons - to fantasies alien to reality.15
Apparently, you can look your subjugant in the eye and still put it under
your thumb. This is the siphoning of the Marxian surplus. This is why the
tragic is so endemic and change so elusive.
The notion of the (heterogeneous) foreign body permits one
to note the elementary subjective identity between types of excrement (sperm, menstrual blood, urine, fecal matter) and everything that can be seen as sacred, divine, or marvelous16
What kind of masochistic process finds artists grasping for anything resembling a shock reaction, in a near total lack of affect economy?
13 Klaus Theweleit, Male Fantasies: Women, Floods, Bodies, History, (Orig., Mannerphantasein, Volume 1, Frauen, Fluten, Korper, Geschichte, Verlaf Roter Stern, 1977), (Minneapolis:
University of Minnesota Press, 1987) .
14 Ibid., 220
15 Ibid., 220. Due to a lull in sensitivity training, empathy for live biomedia in bioart seems
predominantly ineffective at underscoring these tenets. Perhaps it is the perpetual drone flyby
situation we are all under?
16 Ibid., 94.
337
Image 5: Guin, mummy, Spring 2012, micrograph: Adam Zaretsky

Even with all the tricks laid down to remind participants of the responsiveness due the semi-living, we end up with a careless, detached air or
stranger still, a celebration during the torment of partial life. The slippage
humor during the goat genital desecration, the Spartan joy during the sawing and breaking of the goat bones, the celebratory, amateur breaking of
glass HeLa ampules; were these just nervous energies diffused or are we
allowed a moment without repose; without the romantic kitsch of sublimation;
a marvelous moment of open source emotionality? Is this the real shock art,
guiltless joy?
To the extent that man no longer thinks of crushing his comrades under the yoke of morality, he acquires the capacity to
link overtly, not only his intellect and his virtue but his raison
detre to the violence and incongruity of his excretory organs, as
well as his ability to become excited and entranced by heterogeneous elements, commonly starting in debauchery.17
17 Bataille, George. Visions of Excess. The Use Value of D. A. F. De Sade, Alan Stoekl, Ed.
and Translation, Minneapolis: University of Minnesota Press, 1985, pg. 99.
338
Why do we want an ethics of the intentional, one might even say tactical,
interstitial part? What if gloppy, rock snot styled, tumor-fused, growth factored accrued, clinginess was being, in itself, alone? Like torn skin scabbing
up or a peeling scar, sloughed-on instead of-sloughed off, the tissue sticks to
a plastic flask. What does it mean to read this art as merely gripping, holding
the latticework of a preformed biopolymer. Somewhere between a gaping
wound and an over lit avoidance of the deathly darkness of this wound, the
open incision or the hara-kiri poetry of disemboweled anarchy leaves the
disgust to the confusion of the warm, white noise infused, CO2 incubator.
The body is in an economy of dynamic equilibrium based on flow: an orificial
economy. Without a balancing, the body explodes or implodes or disassociates or dies. So, the traumas are either digested, evaded, disavowed or subverted. The body is just blowing off steam, sloughing affect like dead skin,
always dying anyhow.
Image 6: doily angels become limp and reconstituted constitutions of dissipated futures. To decorate and convey my world with brief and fleeting material, words: Guin, collage, Adam Zaretsky, 2012, www.vimeo.com/51410231
339
Elkins refers to most art and/or scientific imagery18, involving subcutaneous probes, sectioning or dissecting, as a sort of detachable body politic,
flirting briefly with the opened body itself, and then avoiding it by reimagining it as something simpler a negotiation between different styles of
evasion.19 But perhaps this simplification is already assuming too much
depth. Evasive rebounding assumes denial, a self tricked self wherein one
uses sleight of mind to decide, whispering blunted affect as a congenial response to trauma. What if there was no trauma from the viscerally prodded
wound? It is this quandary that we use to interpolate the next three sections.
HeLa
HeLa cells in particular carry history, personal, controversial and uncovered history about Henrietta Lacks and her familys need to put her to rest. It
was scientific careerists and the economic-legal collusion that gave the cell
line credence over presumed superstitious family ascent. This is a very public
debate and in the literature. Our lab covered the issues of tissue culture and
bodily lack of integrity. We also talked about industrial profiting from medical
waste used without requiring a donor, bio piracy and the feeling of unrest for
Henrietta and her family (to this day). Henrietta Lacks is with us today as is
the public record of the blood spotting her underwear, the syphilis, her rapid
decline [] excruciating pain, fever, and vomiting; poisons building up in her
blood [] and the wreckage of Henriettas body during the autopsy20.
But there was a felt proximity as well, not to the bioethics of corporate
greed or disingenuous respect for the dead, but the alternative gut feeling of
quiet risk: the proximity to plausibly contagious human cervical cancer cells.
For this reason, the sedate seeming process of aesthetic cancer play, sculpting with laboratory grade, standardized, ready-made cell lines, may have
more haunting remainders than the gore of primary acquisition. It is assumed
18 Looking back from the future of art history, cathecting to the art actuality of this millennia, if
there is anything but used ages on the future historical table, present day traditional contemporary
art and scientific imageries will both both be read as cultural Rorschach tests, historical grist
for the future of associative interpretation. Today such a desperate thing is produced to read
tomorrows today, so why not tomorrow? The more poignant question is, will the allowable loam
of cathectant style have had been subject to stringent enough quality control designations,
thinning the aesthetic range of object relations to the level required, to appease the history of
art in itself?
19 Ibid., 149.
20 Rebecca Skloot, The Immortal Life of Henrietta Lacks, (New York: Crown Publishing, 2010),
209-210.
340
that a comparison, between the feeling of working with the dissection skillset
required to acquire new lines of cells and, alternately, the feeling of using
off-the-shelf ampules, cells in solution would find lab participants retracting
furthest from the raw meat.
But, the contrast of a fearsome ill, like living tumor remnants presented as
a dull, translucent fluid, leaves some worse for wear, due to the fact that they
are confronted with the visceral only in the disappearance of its former incorporation. This is akin to the historical relation of the viscera in anatomical dissection style we have been discussing. In some ways, the less abject these
bits of meat-snot seem, the more they feel like leaky threats to the general
freeze dried personalities our culture seems to produce. So, the question
was asked and the answer left open, are HeLa cells contagious or hazardous in uncontained space? The lab went on. And, the question of Henrietta
and her familys rights was broached and the cell line used without further
question. The lab went on.
Implications of Fetal Bovine Serum:
In our lab we fed both the artistic goat cells and the cute and creepy HeLa
immortal tumor cells with fetal calf nutrients. The use of Fetal Bovine Serum
(FBS) was made clear to our students. FBS factory processing sucks blood
from unborn veal hearts, clarifies it into a laboratory grade media ammendment, and sells it. [O]n a rough estimate based on TC&A experience in
growing in-vitro meat, growing around 10 grams of tissue will require serum
from a whole calf (500ml), which is killed solely for the purpose of producing
the serum.21
21 Zurr, 144.
341
Image 7: Guin, the Resultant Pheasant Embryo after Lunatic Fringe plasmid tattooing, DIY-IGM Art: Intentional Genetically Modified Human Germline Arts, Mellon Institute of Industrial Research, Carnegie Mellon University,
Spring 2012, photo: Adam Zaretsky
342
In tissue culture labs, this serum is used as an art material either, simply,
as food for the growing tissue sculptures, or, in a more complex manner, as
part of the life support paint of the social process of actual tissue cultures, as
art in itself. This co-culture is a collage of remnants, with their own ethics and
aesthetics, which reference the barely alive and the merely dead in awkward
conjuntion. Eugene Thackers interest in horror and snuff in terms of the
industrialized flesh and the living dead aspects of metabolism as commodity show the continuity between manufacturing fetal bovine serum for semiliving arts and transgenic zombies of genocentric biotechnological heritage:
the Undead are semi-living which implies that transgenics
has a similarity to tissue culture in that, although transgenics
can be whole organism based, the informatic injection reduces
that living to a semi-dead state of being industrialized or recapitulated into enzymatic use production.22
This implies that the designation of an organism or partial life as a factory
or industrial secondary metabolite fermentation machine actually reduces
the body to a slave biomedical device or reliable investment schema, poor in
the world and in empathys repose. In conjunction to kitsch reaction formations elicited from the public forum, we can infer the odd disavowal of artists fashioning parenting in the semi-living nursery, nursing of the semi-living
patient and undertaking of the sacrifice of the semi-living execution. This is
the ironic care emphasized by artists in vivo. The public erotic imagination
digs the concomital use, abuse and care of liminal undead gore because
there is an inkling of our collective guilt: in every mortal love affair, in every
ingestion amd in every familiarity. This is to say that the impetus to feel for
or anthropomorphize the cultures, to make voodoo dolls or other fetishes of
their liminality, is a way of assuaging the repugnance we feel for them and
aestheticizing the pain we are only a little too inured to actually feel for them.
In our lab, both Oron Catts and I opened up conversation about the bioethics of fetal calf serum. We revealed the hypocrcy of a technology that
touts itself as a replacement for animal research while using fetal bovine serum (FBS) is to feed hungry, disembodied and incubating tissues at a great
developing animal cost. The vampiric nutritional needs and reincarnated
medical waste aside, the students were rather disinterested in the bioethics
at hand, the art making, and the science of tissue culture. They just wanted
22 Eugene Thacker, Life Resistance and Tactical Media, in Art in the Biotech Era, ed.Melentie
Pandilovski (Adelaide: Experimental Art Foundation, 2008), 26.
343
to practice dissection brut, play with tissue, clean, feed, imagine and generally revel in the morbid acts, without the moral lessons either for or against
dominant ideologies of biological sciences. In some senses, this is the art of
making giddiness.
Human Embryonic Stem Cells (hESCs) and the Multiple Original
Posthuman
Image 8: Gene Orgy: Your Erotic Transgenic Desire Can Penetrate tbe Human Genome, Disco Very, KP20, Amsterdam, NL, 2008
In terms of IGM and transgenic productions in general, as an aesthetic
breeding practice, tissue culture has a less explored artistic use. As we grow
beyond the rhetoric of gene therapy and into the realm of genetic enhancement or human engineering of the human genepool, tissue culture serves as
more than regenerative medicine or non-organism based toxicology utilization. When I hear tissue culture, my mind strays immediately to a particular
type of cell line: stem cells, embryonic stem cells (ESC) and human embryonic stem cells (hES or hESC) in particular. Tissue culture of ESC lines with
semi-stabilized new traits will enable delayed twins (clones) of new model
344
humans to be produced. This reprogenetic printing press is not a promise of

absolute sameness but it is a way of advertising multiple originals, coming
down the assembly line of the transgenic transhuman factory. Though each
little gaggle is still made of individual versions of a single shuffle, the screening of new families or genus Of Human Origin (OHO) will find a way to insure
some modicum of quality control.
Reading through embryologists eyes
Even without the agents confrontation of the living body in development,
concepts to define the transition from zygote to the existence of an organism
(or animal on-ness) revolve around the symbolic observables read in cultural
ways. We can make an examination of philosophical difference production in
scientific interface with embryos. Experimentally backed theories of embryonic development speak as well, informing different philosophies beyond the
field of developmental biology. Though the current focus in developmental
biology is on genetic pathways as the answer to developmental mysteries,
the book Crystals, Fabrics and Fields: Metaphors that shape Embryos23 by
Donna Hardaway looks at several embryologists who are not spiritual vitalists but are interested in showing developing embryos as complexity.
Her history of Ross Harrison, Joseph Needham and Paul Wiess details
both their experiments and their philosophies, which lead us into the birth of
systems biology and epigenetic studies of preborn life forming. This processmaking of a structuralist science of life is far from finished but Harraway
points to specific tropes which work well with each other to form a dialectical synthesis between the failings of both vitalist and mechanist schools of
thinking about formation of bodies. These scientists found ways of seeing
and saying that a developing organisms material forces are irreducible to the
gene as the ultimate unit of instigation. They also rejected cells as a standard, non-heterogeneous atom of life. In fact, in many ways, they rejected
the idea of the smallest atom of life (e.g. Wilhelm Reichs Bions24) and began
to look for other ways about talking about body formation.25
23 Donna J. Haraway, Crystals, Fabrics and Fields: Metaphors That Shape Embryos (1976).
(New Haven, Yale University Press, 2004).
24 Wilhelm Riech, The bion experiments on the origin of life, (Die Bione zur Enstehung des
vegetativen Lebens, Sexpol-Verlag, 1938) USA, Octagon, 1979.
25 Donna J. Haraway, Crystals, Fabrics and Fields: Metaphors That Shape Embryos (1976).
(New Haven, Yale University Press, 2004).
345
Image 9: Lore: Hensons Node, micrograph: Adam Zaretsky, 2013
Haraway recounts Ross Harrisons introduction to the Silliman Lectures

in 1949, where he spoke up against the concept of the smallest particle of life
force. The crux of the issue is the nature of the units: Is the search for the ul346
timate uncomposed unit justified? Harrisons clear response is no.26 Where

there is irreducibility, the door is usually open to the hysteria of spiritual unseen hands (force majeure, lan vital, etc.) Lack of firm knowledge is always
proof of mystery, but Harrison and Haraway go on to refute the concepts
behind religious vitalism, which Haraway refers to as cheating.27 Rejecting
emergence for allusion to, special acts of creation and holism for disrupting the fundamental indeterminacy of whole organism research, Haraway
disrupts theories with pretentions towards unity. Resorting to higher powers
for explanation is a crutch these embryologists seem to hold as spurious if
not superstitiously retentive.
Instead, these are the Heisenbergs of biology, refilling the search for
meaning with an appreciation for uncertainty. The organisicists are neither
vitalists who believe in essence or life force (or the plane of immanence,
for that matter) nor mechanistic reductionists who believe in order and elegance. Nonetheless, there is a certain faith in the complex, which requires an
atheistic belief in the nuance of chance, chaos and mess. This is framed in
Haraways argument by descriptions of the aesthetics and actuality of form,
at the level of the whole organism as well as studies of chunks, transplants
and surgically altered prebodies which show their ability to make a semblance of bodily form without a singular center. The question remains, what
are the doings and becomings of body formation?
The plating of Human Embryonic Stem Cells (hESCs) onto monolayers
of feeder cells (i.e. fibroblasts or scar tissue) lays the ground work for standardized transfected cell lines, capable of implantation. These totipotent or
pluripotent cells are used to the tissue culture flask as a temporary womb. It
is a terrarium, a hospital waiting room, embryonic stem cells all mulling about
until their being is modified, marked, grown up into an edition of embryoid
bodies and sent to gestation stations. The tissue culture protocol produces
the altered clones, who will be marked, screened and implanted in as many
surrogate wombs as the market allows. This is the ethics of demand.
Nature as De Sades Impotence

If we can ask What Can Be Done To/With/For a Body?28, then we are
26 Ibid., 94.
27 Ibid., 25.
28 What Can Be Done To/ With/For a Body?, Adam Zaretsky, The Makers, Interactive Screen
347
certainly obliged to ask: Can we engage these ranges of acts (To/With/For)

in unison, with bodies, partial bodies, extended bodies or semi-living disembodied sub-entities. This doing to reflects the economy of De Sade, as
Lacan so succinctly put it, so conveniently un-sublimated and yet so genital
in its desire.
But when the notion of part object is articulated in that way,
we imply that this part object only wants to be reintegrated into
the object, into the already valorized object, the object of our
love and tenderness, the object that brings together within it all
the virtues of the so-called genital stage. Yet we should consider the problem a little differently; we should notice that this
object is necessarily in a state of independence in a field that
we take to be central as if by convention. The second term
that Sade teaches us concerns that which appears in the fantasm as the indestructible character of the Other, and emerges
in the figure of his victim.29
This is De Sades problem with nature in general. Although he speaks

of nature fondly as an abreaction against morality and the godhead, as a
festival of instincts and the source of hedonism, De Sade is frustrated by the
apparent indestructability of Nature, the transubstantiation of atoms wherein
nothing is destroyed. We can see he touts nature:
0.9 and Interactive Screen 1.0 Beautiful Lives, Banff New Media Centre, Canada, 2010,
Podcasts on iTunesU: http://itunes.apple.com/us/itunes-u/what-can-be-done-to-or-body/
id409208817?i=89791863 , (Date Last Accessed 01/10/2012) and http://itunes.apple.com/us/
itunes-u/anatomy-on-range-enhancement/id409208817?i=89791902 , (Date Last Accessed
01/10/2012).
29 The Ethics of Phychoanalysis, The Seminar of Jacques Lacan: Book VII, Jacques Lacan,
Ed. Jacques-Alain Miller, Trans. Dennis Porter, Routledge NY 1992 (Original Le Seminaire,
Livre VII Lethique de la psychanalsye, 1959-1960, Les Editions du Seuil, Paris, 1986) 201-202,
249-250. On desire for beauty: It seems to split desire strangely as it continues on its way, for
one cannot say that it is completely extinguished by the apprehension of beauty. It continues on
its way, but now more than elsewhere, it has a sense of being taken in and this is manifested by
the splendor and magnificence of the zone that draws it on. On the other hand, since its excitement is not refracted but reflected, rejected, it knows it to be most real. But there is no longer
any object.
348
Thus, we must teach them that life is for the living; that
pleasures are to be enjoyed; that it is far less essential to inquire into the nature of things than to heed the inscrutable and
wonderfully sublime voice of Nature. If they ask us the cause of
the universe, let us tell them the truth: we honestly dont know.
And, if they are curious about philosophical laws, let us refer
them to the true Natural Law; a law as wise as it is simple; a law
written indelibly across the hearts of all men; a law which man
obeys every time he obeys his impulses.30
And yet he seems to admit that the abundance of universal energy is
impermeable to human domestication and command:
Destruction being one of the chief laws of Nature, nothing
that destroys can be criminal; how might an action which so
well serves Nature ever be outrageous to her? This destruction of which man is wont to boast is, moreover, nothing but
an illusion; murder is no destruction; he who commits it does
but alter forms, he gives back to Nature the elements whereof
the hand of this skilled artisan instantly recreates other beings;
now, as creations cannot but afford delight to him by whom they
are wrought, the murderer thus prepares for Nature a pleasure most agreeable, he furnishes her materials, she employs
them without delay, and the act fools have had the madness to
blame is nothing but meritorious in the universal agents eye.
Tis our pride prompts us to elevate murder into crime. Esteeming ourselves the foremost of the universes creatures, we have
stupidly imagined that every hurt this sublime creature endures
must perforce be an enormity; we have believed Nature would
perish should our marvelous species chance to be blotted out
of existence, while the whole extirpation of the breed would, by
returning to Nature the creative faculty she has entrusted to us,
reinvigorate her, she would have again that energy we deprive
her of by propagating our own selves; but what an inconsequence, Eugnie!31
30 Marquis de Sade, The Complete Marquis de Sade, Philosophy in the Bedroom, trans Dr.
Paul J. Gillette (Los Angeles: Holloway House, 2007) 279.
31 Marquis de Sade, Philosophy in the Bedroom, from A Full Measure of Madness; The Complete Justine, philosophy in the Bedroom and Other Writings, Trans. and Compiled Richard
Seaver and Austryn Wainhouse, 1965, http://supervert.com/elibrary/marquis_de_sade/ , (Date
349
Image 10: Guin, she Resultant Pheasant Embryo, tweezed after Lunatic
Fringe plasmid tattooing, DIY-IGM Art: Intentional Genetically Modified Human Germline Arts, Mellon Institute of Industrial Research, Carnegie Mellon
University, Spring 2012, micrograph: Adam Zaretsky
Nature, which in Philosophy of the Bedroom alone, is referenced by De
Sade a multitude of times, is the only force that is immune to sadism. In
inconsequence, De Sade surrenders to the Nature, showing the roots of
deep ecology and the celebrating the dominance of physics, the impossibility of human power in a dynamic system and a leaving behind of control
at a permanent inquisitive loss. If matter acts, is moved by combinations
unknown to us, if movement is inherent in Nature; if, in short, she alone, by
reason of her energy, is able to create, produce, preserve, maintain, hold
in equilibrium within the immense plains of space all the spheres that stand
before our gaze and whose uniform march, unvarying, fills us with awe and
Last Accessed 01/10/2012) p. 43-44.
350
admiration32, this make for surrender to depersonalization even in the midst

of common law crime. Can this be read both for primary acquisition of cell
lines, disembodiment processing, and for the general rationalization which
leads to the abuse of the unfamiliar, xenophobia?
How do we couch our relations simultaneously, synchronously, under the
same umbrella: of worth, of love and of detachment (Thou/We/It)? It is the indestructible independence of the other, even the partial being other or disembodied chunk reflection, faceless, liquefied, cellular lineages, which makes
the need for victimization more pathetic than the others suffering. But, rigid
and obsessional attachment to, and concurrently De Sades disavowal of the
law by siding with the traumatic horror of nature is deep enough. As is Nature
deep, so colorful and detached in its amoral, judgment free, diversity. And,
I would leave it at that, if Luce Irrigaray would let my sleep of pluralism lie.
Waxing poetic along the lines of shadow puppet plays of Plato, Punch33 and
Judy in the uterine cave, her return to the masochism of hysterical masculinities, of the whole circus of command and control, is more grating yet more
fitting on this topic.
The men, the mens bodies, will remain behind this screen.
By thrusting their bodies high enough, the men will succeed in
getting across the screen some symbol, reproduction, fetish of
their bodies or those of other living animals. Those shadows
come from the interception of the firelight by the effigied emblem immortalized in its deathly duplication of men whose
ancestor seems successfully to have raised above a screen horizon this prestigious fake, this lasting morphological impress.34
I Heart Reductionist Materialism: Objectivity Accepts Bodily Becoming, Formation, Fusion and Fields
Haraway has updated a lot since Crystals, Fabrics and Fields: Metaphors
That Shape Embryos. She disavows some of her own strategies of philosophical differentiation in this book. In particular the embrace of fragmentation in her work has superseded the hierarchical betterment of analogy for a
32 de Sade, Full Measure, 22.
33 Also known as Punchinello, Kasparek, Vasilache, Mester Jakel, Vindushaka, Semar,
Tchantches, Guignol.
34 Luce Irigaray, Speculum of the Other Woman, trans. Gillian C. Gill, (Ithica: Cornell University Press, 1985) orig. Speculum de lautre femme, Les Editions de Minuit, 1974, pg 250.
351
more decentered now35. Yet, she is already here, in this early text, with her
ways of making-complex and still retaining judgment or at least preference
in a whirl of ideation.
The words and concepts of description for these paradigmatic problems
are poetic already. The aesthetics of scientific observation is in the written
observations of lifes processes. Returning to Crystals, Fabrics and Fields:
Metaphors That Shape Embryos we can read into the range of these poetic
metaphors for trying to explain life force scientifically. Stemming from centerless morphogenetic fields, we have visions of liquid crystal alignments of
protoplasmic predecessors becoming the visible fibers and eventuating into
nearest neighbor lattices of differentiation. The automated forming of specialized sheets of bodily fabric are records of the wonder of time and space
embodiment based on biological knowledge relying on a variety of magnifications, not hierarchy (or what might be referred to as sizeology36).
These erotic descriptions of the arching yoga of developmental stages
coursing through time have not been ironed out. Standard texts on developmental biology can inform us as to the quizzical analogical instance of trying
to describe the mystery of a body building itself. The following quote from the
medical text Embryos, Genes and Birth Defects, details the formation of the
human heart. We can see how life begins only through a four dimensional
rhetorical flourish. The seemingly objective is filled with scientific words for
amazement and vague hints of the continued confusion that observing development conjures in even the least fantastic mind. Analogies and metaphors are built into the explanatory language of the developmental anatomy, in
this case of heart formation. Stemming from heart fields, come the insinuations
of certain intercellular communication: appearing, clustering, joining, creating
networks, becoming tubes even investing in destiny.
The Heart forms from a pair of cardiogenic fields (primary
heart fields) in the anterior part of the lateral mesoderm. Angioblasts appear in clusters that later form vesicles, which join
to create a network of channels; these channels enlarge to
35 Harraway, ixi.
36 This is why nanotech is really only a study of biology and engineering at a certain resolution... small... 100 microns or less, a new field, not a science at all really, based on the study of
bracketed scale alone. It seems like the machine metaphor has returned to us from the realm
of post-cartesian mind-body dichotomy into technological scale availability of visualization provided through the formula: different scopes for different strokes.
352
become two endothelial tubes, which fuse craniocaudally. The

primary heart tube is formed when this endothelial tube is invested by myocardium, the cell layer destined to form the heart
muscle.37
It is this formation into a whole organism that is so wondrously personified and yet bent towards the sinister. And it is here that developmental biology cannot disavow its cleavage from the lifeworld, as it is. The life world
appears, forms, fuses and networks without stewardship. Compared to the
expiring use of non-humans in our labs, (e.g., eels, goats and human cell
cultures), the microsurgical, toxicological and genetic alterations of embryos
that lead to actual born-into bodies of transgenic organisms carry more continuance, some of them live on semi-freely even after meddling. IGM offers
the human versions of this artistic isolation and pain, captivity and denial.
This is the bargain that experimental research entails for the object of processional desire.
Image 11: Guin, mummification in limestone, salt and myrrh after Lunatic Fringe plasmid tattooing, DIY-IGM Art: Intentional Genetically Modified
Human Germline Arts, Mellon Institute, Carnegie Mellon University, Spring
2012, photo: Adam Zaretsky
37 Debora Henderson, Mary R. Hutson, Margaret L. Kirby, The Heart, Chap. 13, Embryos,
Genes and Birth Defects, Second Edition, ed. Patrizia Ferreti, Andrew Copp, Cheryll Tickle and
Gudrun Moore, (Chichester, John Wiley and Sons, Ltd, 2006), 341.
353
The ordered chaos of art, always offering only momentary reminder of situations left unchanged, is its own sort of containment: a typically bourgeois
tepid revolt. Hearing the IGM aesthetic is based on neo-colonial spin offs,
variations on themed, classical art, embodied. There is no cathartic submission to a theatrical but embodied dare? There isnt any risk. We can relegate
a more surface reading of IGM, as an ironic, up-to-date version of the dated
genre of pre-modern, vow-based endurance performance art. Either way, the
question remains, is there still any secret potency to the order of ritual play?
Cellular Tissues and Nucleic Acids

We recognize that tissue cultured entities are often genetically modified,
marked and mangled. Transgenic creatures are generally whole organisms,
distinguished from tissue culture entities by the presence or absence of a
body to adhere to. Reintroduction into a non-rejecting body is a very big
goal on the part of tissue cultures expansionist intentions. Beyond rhetorical bonds and size-ism, what is the difference between tormenting embryos
though physical, teratological or genetic engineering and tormenting tissue
through environmental life support variables and hormonally forced differentiation? The torment can be read differently but, legally, the level of torment is
read in the same way, inconsequential. Embryos and tissue in culture do not
attain even the status of organisms. We could say that the major difference
between transgenic embryos and tissue cultures are:
1. Transgenic embryos may eventually develop into free living organisms with an improbable germline effect
2.Whereas tissue cultures often are taken from whole organisms,
legally deserving of some modicum of care, and transplanted
into the somatic body of an already developed whole organism
3. Genetic modification, that cascade of alterity, implies stable multigenerational effect.
4. The role of tissue culture in regenerative medicine is not predominately preventative or prophylactic.
5. Replacing or improving the parts amputated or excised is generally not thought of as being passed to the kindred of those who
need or want upgrades38.
38 From fresh skin for burn patients to xenotransplanted heart valves eventuating in multispecies brain collage, etc.
354
6. But, just to make it more complicated, in the realm of fertility

science or new reproductive technology, it is just these multigenerational organs that need preserving, growing, replacing,
altering and passaging back into the germline.
Fertility experts specialize in tissue culturing the very cells or partial life
organ explants that do confer genealogy: regenerative gonads, (ovaries and
testicles) for storage and resurrection of germ cells (sperm or ovum) or germ
precursor cells (spermatagonia and oogonia). Not only are these cells easier
to gain congenital entrance into when they are exposed in vitro, but their mediated environment (e.g., FBS) does have its own effect on ancestry beyond
research intention.
Image 12: Guin, mummified in limestone, salt and myrrh after Lunatic Fringe
plasmid tattooing, DIY-IGM Art: Intentional Genetically Modified Human
Germline Arts, Mellon Institute, Carnegie Mellon University, Spring 2012,
photo: Adam Zaretsky
355
In a philosophically less industrial sense, there are continued questions

as to what happens to morphological fields, at different stages of developmental commitments, when the body is shuffled or the tissues are liquefied.
Are there fields in liquefied or shuffled cultures? What sort of re-embodiment
urge might fully disassociated tissue culture yearn to re-enact from inside a
flask? Does fragmented body plan produce an altered state of directedness,
new architectural leanings and more troubled being for different lines of partial organism-ness? Perhaps, it is not the lab participants but the objectbeings on the slab who need to be quizzed about affect and effect in these
art labs?
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361
Note:
The above text is a chapter excerpt from: VASTAL: The Vivoarts School for
Transgenic Aesthetics, Ltd.. Zaretsky, Adam, Ph.D., Dissertation, RPI, 2012,
pg. 128-149, http://gradworks.umi.com/35/30/3530013.html
About the author:
Adam Zaretsky, Ph.D. is a Wet-Lab Art Practitioner mixing Ecology, Biotechnology, Non-human Relations, Body Performance and Gastronomy. Zaretsky stages lively, hands-on bioart production labs based on topics such as:
foreign species invasion (pure/impure), radical food science (edible/inedible),
jazz bioinformatics (code/flesh), tissue culture (undead/semi-alive), transgenic
design issues (traits/desires), interactive ethology (person/machine/non-human) and physiology (performance/stress). His art practice focuses on an array of legal, ethical, social and libidinal implications of biotechnological materials and methods with a focus on transgenic humans.
362
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363
The Trans*parents of Somatechnics

Demetra Vogiatzaki
Abstract:
Transgender studies form a modern, emerging field of research able
to bridge the gap between gender and design, overcoming the limitations
presented by the study of other, more dominant to this day gendered
minorities, as gay men. This possibility rises due to the fact that gender
crossing subjects articulating with societys impositions, -especially those
who force them into prostitution and therefore into public exposure-, are not
only capable of generating new sites in the city but also form their body
by synthesizing internal and external demands, using techniques ranging
from clothing and performance to surgical and hormonal intervention. The
trans* body, through this instrumental and intentional management, could
be a milestone in this tradition of technological integration and body design.
This paper explores critically the principles governing the construction and
repulsion of trans* bodies, arguing that they can redefine the values of design
architecture
Key Words: transgender, body, gender, design, architecture.
364
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365
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,
Donna Haraway Cyborg Manifesto7.
, 8,
, ,
Conchita Wurst.
9
, Baudrillard
Haraway,
,
.
.
, ()
,

. , , , ,
terrae incognitae,
.

- -,
,
,
,
, .
5 Baudrillard J., , .:. , . 1996.

6 Baudrillard J., .., .46.
7 Haraway D., A Cyborg Manifesto, Science, Technology, and Socialist-Feminism in the Late
Twentieth Century, Simians, Cyborgs and Women: the Reinvention of Nature, . Routledge, 1991, pp.149-181.
8 Haraway Baudrillard
. Felski R., Fin de Sicle, Fin du Sexe: Transsexuality,
Postmodernism, and the Death of History, The Transgender Studies Reader, S.
Stryker S. Whittle, . Routledge, pp. 565-573.
9 : Ekins R.,King D., The Transgender Phenomenon, . SAGE, 2006.
366
.
,
10,
, 11,
, , . ,

,
, , ,
.

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12,
. ,
,
10 K
.
11 B. Judith Butler.
1 2 B. : Somatechnics Queering
Technologisation of Bodies, N. Sullivan, S. Murray, . Ashgate 2009.
367
the
, ,

.
,
,

.
,

.
- (cybernetic socialism13)
post-genderism, ,
, . ,

.

14
.
. ,
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, . , trans*15 ,

13 - Shulamith Firestone.
14 , -,
cogito.
15 (*) trans,
trans- ( transgender, transsexual, transman, transwoman, )
.
368
- -,
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, trans*
,
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(male to female, MtF ).
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16,
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17 :
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16 intersex ()
,
Intersexion (2012).
17
how to transgender.
369
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372

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.

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trans*, -trans* (cis22) . passing trans*
, ,
21
, Adrienne Rich: Begin, though, not with
a continent or a country or a house, but with the geography closest in the body. ( Notes
Toward a Politics of Location, Blood, Bread, and Poetry: Selected Prose 1979-1985).
22 -trans* cisgender cissexual
cis, cis ,
trans-.
373
.

genderbashing23, (, )
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passing
-
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,

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24

, , , . ,

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/ .
,

. effort/
reward, passing ,
.
( macho , lipstic/femme )
,
.
-
23 . Namaste V. K., "Genderbashing: Sexuality, Gender, and the Regulation
of Public Space", The Transgender Studies Reader, .., . 584.
24
Riki Anne Wilchins
"What Does It Cost to Tell the Truth?", The Transgender Studies Reader, ..,
. 545.
374
. ,
, , , , .
,
,
.
passing
passing,

,
. , ( ) ,

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.
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25.
Andrew Sharpe, From Functionality to
Aesthetics: The Architecture of Transgender Jurisprudence26,
- -
,
, ,
( ), , ,
passing (
).
Sharpe, 25 .
26 Sharpe ., "From Functionality to Aesthetics: The Architecture of Transgender Jurisprudence" The Transgender Studies Reader, .., 621.
375
(Functionality) (Aesthetics) ,

/ .
(.1)
, Sharpe,
, - .
. S. Stryker
.Sullivan27 trans* , ,
, cosmetic, ,
. , Sharpe,
,
passing .
, ,
,
.

, ( ) ( )
. ,

, .

,
,
. /
27 Stryker S., Sullivan N., Kings member, "Queens Body: transsexual Surgery, Self-Demand
amputation and the Somatechnics of Sovereign Power", Somatechnics Queering the Technologisation of Bodies, .., .49.
376
, ,

, ,
.
,
,
/ ;
, (

), , 28,
, non-passing -, .
non-passing (
/ ), - Conchita ,
/ 29. Benjamin Singer From
the Medical Gaze to Sublime Mutations30 , (
) -
, (beautiful),
(sublime).
, Singer
trans* ,
, Sharpe, . ,
, ,
(
),
28 D. Fuss Inside / Out, Inside/Out: Lesbian Theories,
Gay Theories ed. Diana Fuss, Routledge 1991
its in to be out,
, confort zone.
29 ,
.
, , ,
trans* (male to female) butch () ,

passing.
30 Benjamin Singer From the Medical Gaze to Sublime Mutations, The Transgender Studies
Reader, .., . 601.
377
/ .

- (
) . passing trans*
,
bodybuilding. (. )

.
trans* passing
.
, - -
. ,
,
non-passing .
, -
, - . , ,
,
-
.

Singer . ,
,
non-passing, , , . 2009, Barbie,
trans* , 31
:
(B.) .
(.) ;,
(B.).
. , ;
31 : http://www.protagon.gr/?i=protagon.
el.prwtagwnistes&id=2380.
378
- ; ;

trans* , , non-passing
.
, ,

cis /
, body building32.
, ,
( )
, , . -
,
;

,
.
, , , -.
-, , -
- ,
. , ,
trans* cis , , (
) Vitruvius . . , ( , ).

, . Riki Anne Wilchins33:
I was twenty-six when I learned I was very tall. For most of my
life I had been considered normal height.
32 Lolo Ferrari
Arlond Schwarzenegger.
33 Riki Anne Wilchins, .., . 545.
379
34
. ,
cis
trans
, .
-. 35 -
.
,
.

/ trans*/cis .
( ) , ;
,
36 ,
,
//.
, ,
.
, - , .
, .
.
, .

, ,
34 trans* .
, . , .
, 2008, .186.
35 . ., .., .174.
36 . 34.
380

, . ,
(. . J. M. W. Turner C.
D. Friedrich) ,
,
.37
,

. Baudrillard,
, :
(...)
Madonna,

, ,
.
;
,
,
(...) /
(...)
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. , ,
.38
Baudrillard cis
,
, --. Baudrillard
,
37 - baroque Jeff Koons, .
38 Baudrillard J., .. .30.
381
. : .

. , - ,
() , .
, . Baudrillard -
, , ,
-, - .
- . -
, , -
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,
, , ,
39. ,
,
,
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cis .
; Martin
Heidegger 40 . Heidegger

41 - 42. Heidegger,
/ / /
39 Frederick Law Olmsted,
Central Park .
40 Heidegger M., , , , , . . , . 2011
41 Heidegger M., ..,.162.
42 Heidegger M., ..,.189.
382
( ) -, . ,
,
, .

.
, , -
-, .
, --
, , tabloids . -
, , ( ),
- Heidegger ,
. Baudrillard

, . , , ,
43: , , , , .
( ) .
Willendorf , Hottentot, Sarah
Baartman44 ,
,

, - baroque .

43 ., , . , , 1989, .304.
44 Sarah Baartman, Hottentot Venus, Khoikhoi

freak shows . O , ,
.
383
, drag culture, -
Rabelais45
, Bakhtin46
.
, 47,
, , ,
trans*, , .
,
,
, , ,
.
drag culture ,
(. Lady Gaga ).
-- drag
culture, ,

.

-- Liza Minelli drag show. ,
Liza Minelli , ,
Ellen de Generes Oscar
2014 : One of the most amazing Liza Minelli
impersonators I have ever seen in my entire life, good job, Sir!
45 Rabelais F., , .: . , .
, 2004
46 Bakhtin M., H , . . ,
, . . , . , 2004 .103-112.
47 , Drag
Show.
384
trans.late48:
,
. .
/

,
.
, ,

.
, , .
, Jay Prosser49

, , L. Cassidy
Crawford50, .
,
,

.
, , , ,
(passing) , ,
, ,
, , ,
. L.C.Crawford
48 trans.late online blog Trans*late Paola
, * 70s .
49 Prosser J., Second Skins, : The University Press Group Ltd, 1998.
50 L.C.Crawford., Breaking Ground on a Theory of Transgender Architecture, Seattle Journal For Social Justice, Transgender Issues and the Law, Vol 8, Issue 2, 2010, pp. 515-539.
385
Archive, Transgender, Architecture, : In direct

opposition to the stability and fixity of bodily homes, transing requires a
light structure that makes infinite bodies.,
Blur Building51 diller & scofidio,

.
Crawford , / (trans.late)
.

: ,
;

Vitruvius
, .

, 52,

.
-,
53 .

;

- ( Blur Building)
. ,
, (.
51 http://www.designboom.com/eng/funclub/dillerscofidio.html.
52 ., , ,
1996, .40
53 . Agrest D., Architecture From Without: Body, Logic, and Sex, Assemblage, No 7, (Oct.,
1988) pp/28-41, The MIT Press, Crawford (2012) Agrest trans* -
,
.
386
) , .
Crawford
Judith Butler54 (performativity)
,
(iterability) . , Butler
. ,

, .
( )
, Blur
Building55.
-
. ,
performance,
( ),

.

.
Singer, - Kant -,
,
.
. Kant
:
54 Butler J., , . ., . ., . ,
2009.
55
. cis ,
.
387

, ,

. (...)
,
,
, (. )
.56
,
, , -, ( )
(
). , ( )
Kant , Singer , ,
.
, ,
, , ,
, , .
,

(, , ). E trans* , ( ) / ,

.
(. , )
. Crawford
,
, .
,
56 Kant I., .. . 56-74.
388

.
-, - , module ,
,
passing , nonconforming, non-passing -,
, , . --, ,

.
: somatechnics
, , , . , , ,
. , trans ,
,
() somatechnics, body-modifications, ( ) transhumans,
cyborgs, ., .
. . ,
,
, .

.
,

389

.

, .
, - - Pistorius,
21 ,

, , . body modification
. biohackers, cyborgs .

, o . H ,

,
lifting , .

. trans
,
,
. T
, - Jaques Derrida57 .

.
.
.
, , .
, .
, , ,
57 J. Derrida, M , . . , . 2006.
390
. .
, ,
-,
. . 58
1:
58
()
, 2007-2013.
391

, . - . : , 2009.
. . ,
, 2008.
. . , 1996.
. . : , 1989.
Agrest D. Architecture From Without: Body, Logic, and Sex, Assemblage. No
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Bakhtin M. H , . . , , . .
: , 2004.
Baudrillard J. , . . , 1996.
Butler J. , .,
. : , 2009.
Crawford L.C. "Breaking Ground on a Theory of Transgender Architecture".
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Ekins R., King D. he Transgender Phenomenon. SAGE, 2006.
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Gay Theories, ed. Diana Fuss. Routledge, 1991.
392
Haraway D. "A Cyborg Manifesto, Science, Technology, and SocialistFeminism in the Late Twentieth Century", Simians, Cyborgs and Women:
the Reinvention of Nature. pp.149-181. Routledge, 1991.
Heidegger M. , , , , . . ,
2011.
Kant I. , . . Printa, 2011.
Prosser J. Second Skins. The University Press Group Ltd, 1998.
Rabelais F. , . . :
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Futura, 2009.
, . . , , 2004.
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Routledge
:
(BA, MSc .. ) .
...
393

Raymond Depardon

O Raymond Depardon, ,
;
:
. , , , , Depardon.
(San Clemente, 1980), (Dlits
Flagrants, 1994 10e Chambre, instants daudience, 2004),
(Faits divers, 1983),
Valery Giscard dEstaing
(Afriques: Comment a va avec la douleur?, 1996),
(Profils paysans, 2001).
. , . , .
. , ,
(Un homme sans loccident, 2003),
, , ,
, . :
, , .
Depardon: , , , ;
-: Depardon Raymond, cinema-direct, ,
, , , .
394
Political representations of the body in the work of

Raymond Depardon.
Panagiotis Papadimitropoulos
Abstract
Raymond Depardon, well known photographer and filmmaker, in his
attempt to answer the question What is politics ?, he comes up with the
following definition : Politics is the realization of injustice perceived since our
childhood. Depardon does not ceases to record and denounce this injustice,
as the sovereignty of the powerful over the weaker, with a self-reflective
glance that characterizes him. His lens captures the space of mental hospital
(San Clemente, 1980), the sentence imposed by the court on the defendant
(Dlits Flagrants, 1994 and 10e Chambre, instants daudience, 2004), the
interrogation at the police station (Faits divers, 1983), the election campaign
of Valery Giscard dEstaing, the misery and suffering of the African continent
(Afriques: Comment a va avec la douleur?, 1996), the forgotten farmer of
the distant French province (Profils paysans, 2001).
He does not though transform this misery into a spectacle. He shoots
with humanity, as if he was himself an orphan and a farmer. Because, above
being an artist, he is a poet. And because he is a poet, he does not make
human suffering a profession. His lens is touched even by the warm sand
and the cold wind of the African desert (Un homme sans loccident, 2003),
by the light, by the light of any kind, even that of the moon, because as
he says, the light is happiness. He complements though: If the light is
happiness, the frame is pain, it is a prison. Heres the real question posed
by Depardons poetic: Can art represent, close in the frame, the bodys need
for freedom, justice and spirituality?
Keywords: Depardon Raymond, cinema-direct,
politics, body, vagabondage, spiritualit
395
photography,

1.
Raymond Depardon
O Raymond Depardon, , ,
,
Depardon.
,
, . , , , ,
, les temps faibles de la
photographie, , ,
, .
Depardon 1942. 36
Magnum.
.
, ,
. : , ,
2.
,
.
, ,
, .
, ,
,
.
(San Clemente, 1980), (Dlits Flagrants, 1994) (Faits divers, 1983),
1 Raymond Depardon, Images Politiques, La Fabrique ditions, Paris, 2004, . 12.
2 Raymond Depardon, Errance, . Seuil, Paris, 2000, . 30.
396
(Afriques: Comment a va avec la douleur? 1996),

(Profils paysans,
2001), (Le silence rompu, 1998).
, . , . .
, ,
(Un homme sans loccident, 2003), ,
, , ,
. : ,
, .
1995

.

.
, , , , .
1974 Valery Giscard d
Estaing. 28 ,
Giscard.
Giscard Depardon. .

.
; Depardon :
(une conscience de linjustice qui se rvle
pour la premire fois dans notre enfance).
, ,
, , ,
, .
, Depardon, , ,
, 3, ,
3 , Nan
Arrousseau, ,
. , ,
397
. , ,
.
, , ,
.
.

(1962)
Moldavia. Bacau. Psychiatric hospital. Orphans. Raymond Depardon/Magnum
Photos https://www.magnumphotos.com/image/PAR117705.html
, .
, : ,
.
, . Depardon
.
.
,
. , , ,
. . ,
, Nicolas Sarkozy
172%. ; ,
,
;
,
, . ,
,
, ,
, ,
.
.
.
, .
398
, . , ,

, ,
, , .
,
, , 4.
, , ,
, , , ,
. (, , , ) ,
,
, .
Depardon, ,
.
Depardon ;
, , , , , ;
Depardon : . , . .
5.
1968 Gilles Caron
.
G
uerre du Biafra, Raymond Depardon filmant un enfant lagonie. Fondation Gilles
Caron http://www.gettyimages.com/detail/news-photo/the-photojournalist-raymonddepardon-filming-a-child-news-photo/451515928
,
Depardon, .
, . Gilles
4 , , , 339, . , . 49.
5 Raymond Depardon, La Solitude heureuse du voyageur, . Muses de Marseille, 1998,
. 12.
399
. , . .
-. 6.
, Depardon .
.
. . ,
.
.
Depardon
.
. ,
, , Depardon. :
, ; , , ;
, ,
;
; ;7
H .
Brigitte Bardot. , , , , agence
, , 8.
,

. :
, -
, ; Depardon
.
6 . . . 12 - 19.
7 Raymond Depardon, Errance, . ., . 56.
8 Raymond Depardon, La Solitude heureuse du voyageur, . ., . 8.
400
1979, , . otes9
(). :
, , . 10.
,
.
Depardon.

, .
,
, ,
- -. , ,
.
fghanistan. Badakhstan. Nouristan mountains. Mujahideens. 1978. Raymond
Depardon/Magnum Photos http://www.magnumphotos.com/C.aspx?VP3=SearchResult
&STID=2S5RYDZ1UVJ9
O Depardon :

. .

11.
, ,
.
.
. . 12. Notes :
- , 11 1978. .
, ,
, .

9
Raymond Depardon, Notes, . Arfuyen, 1979.
10 . ., .
11 . .
12 . .
401
, .

. , .
, Brigitte Bardot
,

Foucault L
Hermeneutique du sujet 13 ( ).
Foucault ,
, . , Foucault, ,
, . , , .
,
, , 14.
Depardon
.
.

. ,
. Foucault,
, priori.
, Foucault, , , ,
.
. , ,
, 15.
13 Michel Foucault, LHermneutique du sujet, Paris, Seuil/Gallimard, 2001.
14 . ., . 12.
15 . ., . 17.
402
Y ,

, , ,
, .
,
. ,
,
, , . Foucault,

Tusculan quaestiones: ,
, ,
,
,
16.
Depardon , . 2000 , (Errance)
, , .
Depardon, ,
, , .
,
Depardon, : ,
.
. ,
. , ; .
. , ,
, .
, .
, ,
17.

, ,
16 . ., . 92.
17 Raymond Depardon, Errance, .., . 5
403
. ;18
. , ,
. , , , , , ; , ,
. . :
;19
: Je pense, donc je suis quelque part 20
( , . (cogito ergo
sum). Depardon, , ,
, , ,
, .
, ,
, , , ,
, . ,
.
P
atagonia region. Raymond Depardon/Magnum Photos
http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2TYRYD7SXJ8S
.
,
. , ,
,
, .

. , , ,
, ,
. . []
Reporters, Numros zro, San Clemente, Faits divers , 18 . ., . 6.
19 . ., . 9.
20 . ., . 142.
404
-. . ,
. []
,
. ,
. ,
21.
,

, ,
, ,
. , ;
; B ;
, , ;
,
.
, Depardon. .
. . . , , . ,
, , , ,
, ,
. .
.
22.
Depardon

, , ,
, , .
,
,
, , ,
.
21 . ., . 104.
22 . ., . 10.
405
Foucault , ,
, ,
, , 23.

; . ,
, , , , .
,
,
,
,
, , ,
.
, , , , ,
, ; , .
,
, , ; ; ;
, ,
.
.
, ,
. : ; ,
, , .
23 Michel Foucault, LHermneutique du sujet, . ., . 16.
406

Depardon Raymond, La Ferme du Garet, , . Carr, 1995.
Depardon Raymond, Notes, , . Arfuyen, 1979.
Depardon Raymond, Correspondance new-yorkaise, , . Etoile,
1981.
Depardon Raymond, Le Dsert amricain, , . toile, 1983.
Depardon Raymond, San Clemente, , . Centre National de la
Photographie, 1984.
Depardon Raymond, En Afrique, ,. Seuil, 1996.
Depardon Raymond, La Solitude heureuse du voyageur, , .
Muses de Marseille, 1998.
Depardon Raymond, Errance, , . Seuil, 2000.
Depardon Raymond, Dsert. Un homme sans lOccident, , .Seuil,
2003.
Depardon Raymond, Images Politiques, , . La fabrique, 2004.
Foucault, Michel, LHermneutique du sujet, , . Seuil/Gallimard,
2001.
, , . ., , . .
Papadimitropoulos Panayotis, Le sujet photographique et sa remise en
question (Alfred Stieglitz, Robert Frank, William Klein, Raymond Depardon),
. Presses Acadmiques Francophones, 2014.
407
:
,
. 2010, Le sujet
photographique ( ) L Harmattan, 2013

2014 Le sujet photographique et sa remise en question (Alfred
Stieglitz, Robert Frank, William Klein, Raymond Depardon),
Presses Acadmiques Francophones.
408
.
Francis Bacon

(Bernardo Bertolucci,
Ultimo tango a Parigi, 1972) Francis Bacon , . , ,

,
Bacon.

, mise en scne. H
,

, . , Bertolucci
Bacon,

,
. ,
, Vittorio
Storaro, , , Sergei Eisenstein,
Bacon.
-: Bertolucci, Bacon, , , , .
409
Alterations of pain and pleasure.

Francis Bacon in Last tango in Paris
Despoina Poulou
Abstract
The first visual stimuli of Last tango in Paris (Bernardo Bertolucci, Ultimo
tango a Parigi, 1972) are two paintings of Francis Bacon; the main characters of the cinematic universe are being introduced through their simulacra,
revealing the directors intentions to converse with the painters distressing
gaze. In a movie that examines the possibility of an escape from normative
reality, the wish to convey Bacons imaginary to cinematic language outgrows the creation of a visually resembling composition and aims at grasping the intense existential violence of his work. The painters color palette
is adopted so that the cinematic subjects can immerse in an environment
that enables their introverted movement and, at the same time, allows them
to emerge from it as fundamental forms of the mise en scne. The camera
moves through distorting surfaces and altering mirrors, transforming the bodies into visual manifestations of the characters psychological conflicts, in an
effort to grasp the painful expressiveness of Bacons portraits. In this context,
fragments frames of Bertoluccis movie are dialectically examined with interrelated works of Bacon, so that the external and the internal adjacencies
are detected, in a way that preserves the bodies as main expressers of the
violent erotic or deathly, voluptuous or afflictive tension. Finally, issues
such as the methodology of Vittorio Storaros work, as the cinematographer
of Last tango, and the influence of filmmakers, such as Sergei Eisnstein, on
the work of Bacon, are considered.
Keywords: Bertolucci, Bacon, body, existence, eroticism, violence.
410
(Ultimo tango a
Parigi, 1972), Bernardo Bertolucci , Marlon Brando
Vittorio Storaro1, Francis Bacon :
, Grand Palais
Francis Bacon, .
Marlon. Bacon,
, Brando, ,
2.
.
. H

.

BirHakeim
. . : , ,
, . , ,
, , ,
1 , Bertolucci
, . :
(Il comformista, 1970), (Strategia del ragno, 1970), 1900 (Novecento, 1976), (La luna, 1979), (The last emperor, 1987),
(The sheltering sky, 1990) (Little Buddha, 1993).
, Storaro ,
(Apocalypse now, 1979) Francis Ford Coppola
(Reds, 1981) Warren Beatty.
2 Bertolucci Bertolucci. Enzo Ungari,
, , (.), Bernardo Bertolucci, 37 (: , 1996), 25.
411
. (Paul [Marlon Brando]),

,
,
(Jeanne [Maria Schneider]) ,
. ,
.

,
Bacon (Double Portrait of Lucian Freud and Frank Auerbach, 1964
[ ] Study for portrait of Isabel Rawsthorne,
1964),
: ,
, ,
.
, , ,
Bacon.
, , ,
:
Lucien Freud
Bacon:
3, ,
.

,
, . ,
,
Bacon4
, ,
, ,
.
3 ..
4 ., : Self Portrait (1969), Three studies for portraits including self-portrait
(1969) Self-Portrait (1970). ,
.
412
Bertolucci
Bacon,
, . ,
, : [...]
. , 5. Sergei
Eisenstein
, ( )
(Bronenosets Potyomkin, 1925). Bacon , ,
, Study for the nurse
in Battleship Potemkin (1957), ,
. ,
,
, 6.

7 , , : ,
Bacon . ,
Bacon Bertolucci
, ,
,
, Deleuze,
Bacon
8.
5 David Sylvester, : Francis Bacon, .
(: , 1988), 34.
6 John Russell, Francis Bacon (London-New York: Thames and Hudson, 31993), 56 (
, ).
7 , :
,
, , ,
,
.

.
Sylvester, , 35.
8 Gilles Deleuze, Francis Bacon: The logic of sensation, . Daniel W. Smith (London-New
York: Bloomsbury, 2013), 44.
413

,
,
, , . ,
, Jules Verne,
.
, , , , ,
. , ,
, ,
,
,
, . Storaro :
:
,
, . ,
, . , ,
,
,
9.

, ,
10

, , .
, ,
, Bacon,
: 11. 9 Bertolucci Bertolucci, , , (.), Bernardo
Bertolucci, 25.
10 Dennis Schaefer, Larry Salvato, Masters of Light: Conversations with contemporary cinematographers (Berkeley: University of California Press, 1984), 226.
11 Deleuze, Francis Bacon, 99.
414

, Three studies for figures at the base of a crucifixion (1944),
, 12. , ,
, Bacon
, (-)
. ( ) :

. [...] Farmleigh
.
, 13.
Deleuze ,
14. Bertolucci
: ,
,
Bacon
( : Triptych, three studies for portrait of Lucian Freud, 1966),
( ),
, 15.

16 .
Kolker Bertolucci,
, ,
, ,
12 Luigi Ficacci, Francis Bacon 19091992: Deep beneath the surfaces of things (Cologne:
Taschen, 2010), 13.
13 Sylvester, , 184.
14 Deleuze, Francis Bacon, 2.
15 Ernst van Alphen, Francis Bacon and the loss of self (London: Reaktion Books, 1992), 147.
16 T. Jefferson Kline, Bertoluccis Dream Loom (Amherst: University of Massachussets Press,
1987), 116.
415
, Bacon17 .
,
. , ,
(
). ,
, ,
,
.

18, ,
.
, , ,
,
,
.
Alphen, Bacon
, Two figures (1953) Two figures in the grass (1954),
19 :
[. ]
Muybridge,
.
[] Muybridge.
,
. .

20.
17 Robert Phillip Kolker, Bernardo Bertolucci (London: BFI, 1985), 128.

18 Bacon
, Study for portrait of Isabel Rawsthorne.
19 Alphen, Francis Bacon, 123.
416
Bacon
, Muybridge
21.

: (
.) Muybridge,
22.

.

23
, Bertolucci,
,
. ,
:

24,
25. , , Bacon,
Bertolucci, ,

, .
, , :
, , .
,
(1.75:1) 26.
21
David Bordwell, Kristin Thompson, Film History. An Introduction (New York: McGraw-Hill,
22003), 15.
22 Sylvester, , 30.
24 Deleuze, Francis Bacon, 46-47.
26
, David Bordwell, Kristin Thompson,
, . (: , 2004), 26170.
417
, ,
,
, . , , Bertolucci
, , Bacon
() .
: Bacon,
() , , ,
27.
Bacon, , :
,

.

. []
,
28.
,
.
29.
Bertolucci , , ,
,
, ,
. ,
( ),
, , Kolker, 30, .

28 Sylvester, , 22-23.
29 .., 65.
30 Kolker, Bernardo Bertolucci, 133.
418
H , ,
, ,
,

,
Bertolucci , , .
Bacon: ,
,
, ,
, , , ,
( : Triptych, three studies of Lucian
Freud, 1969, Three studies of the male back, 1970).
, Bertolucci
, . To 1968 o
(Partner), Fyodor Dostoyevsky (Dvoynik, 1846), Pierre Clmenti
, , . , Giulio Brogi,
(Strategia del ragno, 1970),
, (
Athos Magnani). Alfredo (Robert De Niro)
Olmo (Grard Depardieu), 1900 (Novecento, 1976)
, ,
, . Bertolucci , o Kline :
,
Bertolucci
. 1972
,
, ,
, 31.
31 T. Jefferson Kline, , ,
419

, : Paul , Rosa,
, , ,
, () Jeanne,
.
,
Jeanne, , Tom, , Marcel. , ,
Paul , Bacon.
Marcel ,
, ,
Rosa. Paul
,
Marcel (.
).
, , , . Bertolucci , ,
Marlo Brando Massimo Girotti (

)32. ,

, ,
, .
Paul :
[. Rosa], . , , :
, (.), Bernardo Bertolucci, 103 (

: T.J. Kline I Film di Bertolucci,
. Gremese, 1994 ,
Bertoluccis Dream
Loom).
32 Fabien Gerard, T. Jefferson Kline, Bruce Sklarew (.), Bernardo Bertolucci: Interviews
(Jackson: University Press of Mississippi, 2000), 131.
420
33.
Bacon , Triptych, three
studies of Lucian Freud,
,
, ,
, 34.
:
, ,
, ,
. Alphen , /, Bacon , Triptych Studies from the human
body (1970)35: ,
, , mise en
abyme ( ),
. , ,
36.
,
,
, Bacon Jean Cocteau
:
Cocteau :
37. Bertolucci,
Bacon
, ,
,
() . Kline ,

33 Kline, Bertoluccis Dream Loom, 115.
35 .., 47.
36 .., 48.
421
Cocteau, (Orphe, 1950)

, Bertolucci
38.

: Jeanne Paul Rosa,
, ,

. Kline
, :
, Bir-Hakeim,
Quai de Passy ( ), , , Cocteau,
(
, )39. ,

, Heurtebise ,
Kline ,
,
, 40.
,
, , , ,
,
Bacon ( : Three studies of the male back, 1970,
Portrait of George Dyer in a mirror, 1968),
, , .
,
, 38 Kline, Bertoluccis Dream Loom, 107.
39 .., 109.
40 .., 110.
422
Bacon.
,
, ,
Bertolucci,
, :
, Rosa, Paul

Jeanne , , Paul,

,
( Jules Verne), , .
, ,
,
,
, ,
. ,
, , ,
.
, ,
Bacon, , ,
. Love is the
devil: Study for a portrait of Francis Bacon (1998), John Maybury,
,
,
Bacon, 41.
Bertolucci ,
, 41 Bacon
George Dyer.
, , , ,
.
423
. , , ,
,

Bacon. :
, .
42,
, ,
.

42 Sylvester, , 21.
424

Alphen, Ernst van. Francis Bacon and the loss of self. London: Reaktion
Books, 1992.
Bordwell, David, Kristin Thompson. , . . : , 2004.
Bordwell, David, Kristin Thompson, Film History. An Introduction. New York:
McGraw-Hill, 22003.
Deleuze, Gilles. Francis Bacon: The logic of sensation, . Daniel W. Smith.
London-New York: Bloomsbury, 2013.
, , , (.).
Bernardo Bertolucci, 37 . :
, 1996.
Ficacci, Luigi. Francis Bacon 19091992: Deep beneath the surfaces of
things. Cologne: Taschen, 2010.
Gerard, Fabien, T. Jefferson Kline, Bruce Sklarew (.), Bernardo
Bertolucci: Interviews. Jackson: University Press of Mississippi, 2000.
Kline, T. Jefferson. Bertoluccis Dream Loom. Amherst: University of
Massachussets Press, 1987.
Kolker, Robert Phillip. Bernardo Bertolucci. London: BFI, 1985.
Russell, John. Francis Bacon. London-New York: Thames and Hudson,
3
1993.
Schaefer, Dennis, Larry Salvato. Masters of Light: Conversations with
contemporary cinematographers. Berkeley: University of California Press,
1984.
Sylvester, David. : Francis
Bacon, . . : , 1988.
425
Francis Bacon
Double Portrait of Lucian Freud and Frank Auerbach, 1964. ,
, 167.7x144.8. Moderna Museet, .
Portrait of George Dyer staring in a mirror, 1968. ,
198x147.5. Thyssen-Bornemisza, .
Self-portrait, 1969. , 35.5x30.5. , .
Self-portrait, 1970. , 152x147.5. .
Study for portrait of Isabel Rawsthorne, 1964. , 198x147.5.
, Massimo Martino, Fine Arts & Projects, .
Study for the nurse in Battleship Potemkin, 1957. ,
198x142. Stdelsches Kunstinstitut und Stdtische Galerie, .
Two figures, 1953. , 152.5x116.5. .
Two figures in the grass, 1954. , 152x117. .
Three studies for figures at the base of a crucifixion, 1944. ,
, 94x74. Tate Gallery, .
Three studies for portraits including self-portrait, 1969. ,
, 90.2x77.5. .
Three studies of the male back, 1970. ,
198x147.5. Kunsthaus, .
Triptych, studies from the human body, 1970. ,
198x147.5. Jacques Hachuel, .
Triptych, three studies of Lucian Freud, 1969. ,
198x147.5. , .
Triptych, three studies for portrait of Lucian Freud, 1966. ,
198x147.5. Marlborough International Fine Art.
426

Apocalypse now ( ). Francis Ford Coppola. Zoetrope
Studios, 1979.
Bronenosets Potyomkin ( ). Sergei Eisenstein. Goskino,
1925.
Il comforista ( ). Bernardo Bertolucci. Maran Film, Marianne
Productions, Mars Film, 1970.
The last emperor ( ). Bernardo Bertolucci.
Hemdale Film, RPC, Tao Film, Yanco Films Limited, 1987.
Little Buddha ( ). Bernardo Bertolucci. Ciby 2000, RPC,
Serprocor Anstalt, 1993.
Love is the devil: Study for a portrait of Francis Bacon. John Maybury. BBC,
1998.
La luna (To ). Bernardo Bertolucci. Fiction Cinematografica, 20th
Centrury Fox, 1979.
Novecento (1900). Bernardo Bertolucci. Artemis Film, Les Productions
Artistes Associs, PEA, 1976.
Partner ( ). Bernardo Bertolucci. Ministero del Turismo e dello
Spettacolo, Red Films, 1968.
Prima della rivoluzione ( ). Bernardo Bertolucci. Cineriz,
Iride Cinematografica, 1964.
Reds ( ). Warren Beatty. Barclays Mercantile Industrial Finance,
JRS Productions, 1981.
Strategia del ragno ( ). Bernardo Bertolucci. RAI,
Red Film, 1970.
Ultimo tango a Parigi ( ). Bernardo Bertolucci.
Les Productions Artistes Associs, PEA, United Artists, 1972.
:
.
427

human trafficking:
animation spots
THE NO PROJECT

animation
,
. , ,
.
, (animation),
human trafficking animation.
, .
, THE NO
PROJECT. O .
, .

The No PROJECT
.
.

.
-: , story board, concept art, animation,
human trafficking, graphic design, , info-graphics,
the no project
428
The controlled body in light of the practice of human

trafficking: Five narrative animation spots, from the
collaboration between of Athens and the
THE NO PROJECT organization
Eleni Mouri
Abstract
The dynamic of Animation art lies in the narrative structure of non-existing
world, while the events that take place are imaginary as well. The creator
constructs his own world for taking aim at projecting his opinion, criticizing
and developing his beliefs through the symbols and abstraction.
The given task to TEI Athens students of Graphic Design, in the class of
Animation, was to communicate the problem of human trafficking through
narrative animation. The problem is the economic exploitation of people
by man. Under this frame, the collaboration with THE NO PROJECT
organization was evolved. The organization is an independent initiative
against human trafficking. It focuses on the main role of asking; it forwards
the youth awareness in order to have young people to change the attitude of
the society towards the issue.
Here will be presented the results, after the collaboration of TEI Athens
and THE NO PROJECT humanitarian organization, of the visual material
development. The created movies focus on the use of human body as a money
making machine. The use of symbols and abstraction are characteristics of
the narrative animation and of the tough issue
.
Key Words: narrative, story board, concept art, animation, human
trafficking, graphic design, statistics, data, info-graphics, the no project
organization.
429

, () .
. , , , :
- -
- . (context) , ,
.
Ferdinand de Saussure ,
.
, ,
, , .
, . 1
Ferdinand de Saussure , ( -
) , ( ). , ,
. ()
.
K
Louis Hjelmslev, , Omkring
sprogteoriens grundlggelse, ( ),
1943,
, .
=
=
. Hjelmslev, ( )
1 . , . :
, 2010:138.
430
(). , .

,
,
.2
,
. , .

. Fixion movies live,
animation .
animation
(fixion) narrative animation
(option events) inform
animation.
animation ,
narrative
inform animation.
narrative animation
.
. ,
.
. , , ,
. .
animation live .
.
2 Hjelmslev, Louis. Prolegomena to a Theory of Language. Madison: U of Wisconsin, 1961.
(http://www.scribd.com/doc/130368171/Hjelmslev-1961-Prolegomena-to-a-Theory-ofLanguage)
431
Georges Mlis
A Trip to the Moon (1902)
The Impossible Voyage (1904). .
live
.
Avatar (2009) James
Cameron. .
inform animation , narrative animation
info graphics visualization.
narrative animation , . animation,
inform animation
. inform animation,
, , .
. inform animation
, , ,
.
. .
inform animation ,
.
animation
animation, . ,
,
.
, ,
.
(story board).
, .
, story
432
board . animatic.
animatic.
, (cartoon),
(3D computer animation, flash
animation, cut out animation)
, stop motion animation.
compositing
. compositing , .

, 3D computer animation cartoon
stop motion animation cut out ..
compositing
.
THE
NO PROJECT. http://www.thenoproject.org
Project
. The N
Project Judy Boyle,

, 2001. 18-
.
, .
, . Boyle. .
.

Human Trafficking, . Judy Boyle , , The
N Project.
The NO Project
, , , ,
social media. ,
. , , ,
. , ,
. The NO Project , ,
433
, , , ,
hip hop .
.
. Boyle , , . . . .
, .
- . , . , . Boyle.
-

, . - ,
.
-. On line, , , ,
.
The NO Project -
Hip Hop Dance Crew, Harvard
. , The N Project
.
2011 . Boyle youtube animation
, 1,2 .
,
, - ; -
. .
The N Project ,
. ,
. ,
, .
, . ,
,
. , story board . . Judy Boyle
.
434
, (story board) (animation), human

trafficking animation.
. Judy Boyle
,
Human Trafficking.

. :
3, () (UNTOC) , , , , ,
, ,
, ,
, , . , ,
. , ,
,
,
, .
,
...,
. :
( ): , , ,

( ): , , ,
, , ,
.
( ): ,
, , ,
.
435
.
:
,
, . The UN Office on Drugs and Crime
1,2 .-
UNICEF

. .
Belser 2005
600.000 800.000 ,
. 80% .
50% . - US Department of State Trafficking in Persons
Report 2007
20,9 .
.
, 2012, 44% .- ILO 2012 Global
Estimate of Forced Labour
,
.- The UN Office on Drugs and Crime.
.- A
global alliance against forced labor, International Labor Organization, 2005
,
Human Trafficking, United Nations Office on Drugs and
Crime, Stop the Traffik, Antislavery, Free the Slaves, Not for Sale, Slavery
Footprint, The A21 Campaign, Priceofsex, GEMS, Walkfree, ., 436
human trafficking.
. Boyle ,
,
.

THE NO
PROJECT . , ,
, www.youtube/teianima.
human trafficking,
animation, narrative
animation, ,

.

.
. ,

. ,
.
1,2 million children,
. . UNICEF, UK Child Trafficking
Information Sheet (January 2003). An estimated 1.2 million children are
trafficked each year.
. Rudolf Arnheim
,

[.]

437
.3

, .
:
,
.
,
.
,
.
.

.
, :
.
. , , .
, ,
. .
. . .
.
. , trafficker.
.
.
.
. .
3 United Nations Office on Drugs and Crime, http://www.unodc.org/unodc/en/human-trafficking
438
1: story board 1,2 million children.

: http://www.youtube.com/watch?v=JwmZ6dhxRyE
, , Hans Christian Andersen
, .
.

.
,
, .4
4 Stop the Traffik, People Shouldnt be Bought & Sold, http://www.stopthetraffik.org/the-scale-
439
Disney
The little mermaid Andersen,
. ,
, trafficker. trafficker
,
.
2: story board Wish.

: http://www.youtube.com/watch?v=WpuoS-hjHwE
Factory, . , Roland Barthes,
.
, .
, , ,
. .
.
, , ,

. 5
Factory , . of-human-traffiking
5 Arnheim Rudolf. . University Studio Press, 2007: 97. (Visual Thinking, The
Regents of the University of California 1969).
440
.
.
, , . Human
Trafficking.
3: story board Factory.

: http://www.youtube.com/watch?v=EBcWp7yo7DQ
, MASS PRODUCTION. (
,
, , , .. , , , .
.
,
.
, trafficking ,
, ,
. , , ,

.
trafficking ,
.
.
441
4: story board Mass Production.

: https://www.youtube.com/watch?v=zMJJKEoXaKI&list=PL0B
7EFCF1825B4C23
Barcode .
traffickers .
, , .

barcode.
.
, .
.
,
.
. ,
, , barcode, .
442
5: story board BARCODE. https://www.youtube.com/watch?v=GL1WLq7iPBo&list=PL0B7E

FCF1825B4C23&index=8
human trafficking , data, infographics .

,
animation.
.
human trafficking.
, informative animation,
, . animation
films,
, ,
, ,
.
The No Project .

.
Project . Judy Boyle,
,
443
. ,
.
Arnheim, Rudolf. . University Studio Press, 2007.

Hjelmslev, Louis. Prolegomena to a Theory of Language. Madison: University
of Wisconsin, 1961.
, . , .
: , 2010.
:
H , , (animation)
444

. ,
. ,
.
.
,
, .

.
,
.
, .

, ,
.
-: , , ,
445
The depiction of the female body in art as an object of

worship and as a ritual medium
Symeon Nikolidakis, Calliope Tsantali
Abstract
From antiquity up to the Byzantine era and Medieval Times the human
body plays a critical role in all societies. The symbolisms of female body are
remodeled in correspondence to the era, conditions and social challenges.
Thus, the concept of body is given a new meaning and is reshaped from one
society to another. The female body is also a means of religious worship and
artistic inspiration. New technologies play a crucial role to this direction as
students and teachers are given the possibility to produce work on a crosscurricular basis and find material from different sources. This way polyphony
and verbal pluralism are reinforced.
The present study aims to elevate the female body and locate its
evolution within time and space. In this framework instructional practices will
be suggested so that students come in contact with the concept of body and
comprehend its rationale. They will also be able to perceive the body as a
whole. School books and innovative practices enable students to approach
the body and its aspects. Museum Education offers students the possibility to
comprehend and directly approach the female body by seeking the reasons
and manners by which it is transformed in every society.
Key words: female body, art, instruction, Museum Education
446

, ,
.
, , ,

.
. ,

.

,
,
.

.
,
(-, 2011),

, .
, , , . ,
,
,
.
, , . ,

, .
,

(Yalom, 2009). ,
.
447

,
.
.

.

(-, 2011).
,
.
,
.
.
, .
, .
. ,
, . ,
,
.

(Yalom, 2009).
19
, .
. 20
.
,
,
. .
448

. ,
, 60 70
.
, ,
.

,
(Brown, 2006).

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-
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(Shilling, 1993).

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.

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449
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450
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(Durbin et al. 1996). , ,

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(Dodd and Sandell 1998).
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.

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451
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( & , 2012).
project:
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, ,
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. ,
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Bruner,
(, 2008).
,

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-

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,
452
, , (, 2011).
.
, project
,
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(Hollander, 1978).
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(, 2013).
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453

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project , .
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455

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, .
456

, . , & . : Gutenberg, 2006.
Brown, K. R.. Media representations of female body images in womens
magazines. Oklahoma State University, 2006.
Dodd, J. & Sandell, R. Building bridges: guidance on developing audiences.
London: Museums and Galleries Commission, 1998
Durbin, G. et al. Learning from Objects. 2nd ed., London: English Heritage,
1996.
, .
. .(2013):105-106.
Hollander, C. An Introduction to Sociogram Construction. 1978.
-, . & 110 (2011): 26-36.
, . .
: , 2011.
, . & , .
6 .2012.
Shilling, C. The body and social theory. Sage publishing.1993.
, . . : , 2008
Yalom, M. . : , 2009.
457
:
MSc
.
&
.
458
459
Instead of a conclusion
Dalila Honorato
By the end of the summer of 2014, after 10 years of hard work at the
Department of Audio & Visual Arts, our dear colleague Prof. Marianne Strapatsakis, a true dedicated person, retired. It has been such an honor to know
her as an artist and such a pleasure to share her friendship. This book of
proceedings should not be closed without a reference to one of her works
which is directly connected with the theme of the call1.

Together with Secret Passages - Lavrion (1997) and The Reflections of
the Past (1989), Invisible Places / The Vast White (2008) is the last piece
of the trilogy Birth - Life Death by the video artist Marianne Strapatsakis.
For those who know her in person, it is clear that her personality has nothing
to do with morbid and one even has sometimes the feeling that she lives everyday driven by a wild internal strength. Her own words are a clear explanation of the artists relation with the subject of death when she states, in a text
from her individual expositions catalogue in Strasburg - France (2009): Im
afraid of death only when Im touched by beauty. On the other hand, when
touched by beauty, no one cares about death2. It is not the intention of this
presentation to give further explanation on the reasons behind the creation
of Invisible Places / The Vast White because that right belongs solely to the
artist. This is a reflection on the possible meanings of this video art installation work from the point of view of ethics and aesthetics of death.
Invisible Places = Unconscious: metaphor of life
Why not starting by referring to the first part of the works title, Invisible
Places? The Invisible is not the synonymous of Hidden3, it is a quality based
on the lack of capacity to see on behalf of the viewer. If one could see it,
1 The content of the following text has been presented in Turkey in 2011 and Portugal in 2014
and remained unpublished until now although an excerpt was included in the programme in the
exposition Invisible Places / The Vast White by Marianne Strapatsakis which took place at the
Ionian Parliament co-organized by the Municipal Art Gallery of Corfu and the Interactive Arts
Lab of the Department of Audio & Visual Arts of the Ionian University.
2 Marianne Strapatsakis: Trilogy Birth-Life-Death (Strasburg: Apollonia, 2009) 97.
3 Maurice Merleau-Ponty, The Visible and the Invisible (Evanston: Northwestern University
Press, 1968) 151.
460
then it would lose the quality of being Invisible4. For that reason Invisibility is
explained by the low perspective provided by the senses. Invisible is not the
synonymous of Inexistent5: just because one can not see it, it does not mean
that it is not there. So it could be said that there are Places more Invisible
than others, some of them can not be seen but can be sensed, others are so
Invisible that one even doubts their existence. Death is quite a visible state if
conditioned to the frame of the body6. Invisible Places could be those inhabited by souls, if we accept the possibility of spiritual existence following the
death of the body. But Invisible Places can be a reference to the unconscious
where all impressions are imprinted without being either easily accessible
neither clearly decipherable.
In Strapatsakis work we are faced with a female character going through
the last minutes of her existence, regressing towards different stages of life.
Therefore Invisible Places / The Vast White can be seen as a metaphor of
human life along birth, childhood, adolescence, adulthood, aging and death.
The video art installation is a journey into a collection of images encapsulated within the characters mind, performed brilliantly by actress Katharina
Thalbach. We do not know if these images are part of her life experiences or
her dreams and wishes. We just know that she reacts to these and for that
reason they are significant, not as an imaginary element but as an empirical
reality. Also they seem detached from any cultural significance. The memories are universal7, they are impressions of reality, pure forms detached of
shape. And although we are observing a female character, one can easily
extrapolate these experiences to any character of any gender8.
Vast White = Death: metaphor of creation
The second part of the works title, The Vast White, is culturally connected with death since white as well as black were commonly used in dressing
during the mourning period9. The white as a place is here described as Vast,
otherwise, Infinite, a Universe, constantly in expansion. But the Vast White
4 Maurice Merleau-Ponty, The Visible and the Invisible, 82-83.
5 Maurice Merleau-Ponty, The Visible and the Invisible, 36.
6 Reference to "The visible state of the dead" by Benjamin Colman in Death and the Grave
without any Order. Printed for John Phillips & Thomas Hancock, 1728. Electronic text and image data.
7 Paolo C. Biondi, Aristotle, Posterior Analytics II.19 (Saint-Nicolas: Presses Universit Laval,
2004) 55.
8 On the identification of the womb with the tomb check Grace Jantzen, Death and the Displacement of Beauty: Foundations of Violence (London: Routledge, 2004) 18.
9 Lou Taylor, Mourning Dress: A Costume and Social History (New York: Routledge, 2009) 153.
461
does not define an increasingly created Universe. Instead, the absence of

creation within it, is an uncreated Universe, which is also constantly in expansion. Otherwise, the concept of Infinite is compromised. The Vast White
is the other side of what we commonly conceive as Universe, the part that
makes it Infinite because pieces of it are constantly giving place to the BeingCreated Universe10. It is like the empty canvas facing the artist where there
are just two options, to create or to be destroyed by it. When creating, the
artist becomes the medium and it is through him that the Being-Created
Universe flows. Metaphorically he is giving birth. On the other hand, when
not creating, the artist is defeated by the eternal blank. And, in this sense,
metaphorically he dies. Living without creating is, therefore, a paradox and
dying can be considered as the last creative act.
In the beginning of the work we see images of land and sea viewed from
the sky which gradually get more and more distant while the camera is moving up left towards dark grey clouds. The absence of direct sunlight is obvious, the star that grows all things, the fuel behind creation. If considered
under the perspective of Plutarch, the soul is travelling towards the moon11,
the reservoir of all memories. Among these gray clouds, accompanied by the
increasing tension of the music composed by Andreas Mniestris, in the middle screen, horizontally, a human face profile appears. She is the center. She
is the creator of meaning. She is the one delivering her memories.
During the last scenes the full body of the female character appears levitating upwards among a gray cloudy sky. The wind blows and her white
clothes give her the appearance of a spirit. Then she vanishes, she becomes
invisible. And the scene closes with the sky disappearing, giving its place
to the Vast White. If the soul forgets its earthly past after being detached
from the body and the mind, as Plutarch refers, then the vast white is to be
free from memories and only then the soul will be ready to unite itself with
another mind12. The vast white identified as the action of forgetting becomes
the main ingredient for a potential new life. It is at the same time a ground
zero of existence. Without the womans conscience there is no place for images because these formed her universe. Without her, it exists no more13.
10 Michel Blay, Reasoning with the Infinite: from the closed world to the mathematical universe
(London & Chicago: The University of Chicago Press, 1998) 140.
11 John D. Tuner, Sethian Gnosticism and the Platonic Tradition (Paris: Les Presses de l' Universit Laval, 2006) 463-465.
12 Lautaro R. Lanzillotta and Israel M. Gallarte (ed), Plutarch in the Religious and Philosophical
Discourse of Late Antiquity (Leiden: Koninklijke Brill NV, 2012) 241.
13 Robert Bruce Ware, Hegel: The Logic of Self-consciousness and the Legacy of Subjective
Freedom (Edinburgh: Edinburgh University Press, 1999) 67-68.
462
For that reason we cant see it projected in front of us. Nevertheless, it has
been integrated within our memory so, as long as we remember it, we are
able of projecting it, as a part of our personal experiences. It becomes Infinite
because it has been assimilated into the unlimited finitude of our own lives.
Ars Moriendi
One thing that stroked me when I saw Invisible Places / The Vast White
for the first time was the fact that this woman was apparently dying alone14.
In history of art the vast majority of the dying and the dead pictured have
a smaller or larger group of fellow people around them mourning for their
beloved one. Such is the case of Caravaggios Burial of Saint Lucy and
Death of the Virgin. But there is something about the facial expression of
the female character that reminds me of The Body of the Dead Christ in the
Tomb by Hans Holbein the Younger and Peter Paul Rubens The Crucified
Christ. One could call it the certainty of death. No matter if she is or if she
is not physically alone, she is in fact spiritually isolated from others. Being
sure now of the moment of her death, an altered state of consciousness, she
is depicted isolated from the environment as if she was no more a part of the
dimension inhabited by other humans15.
Image 1: Frame of the video installation Invisible Places / The Vast

White. Marianne Strapatsakis.
There is another interpretation though. That the female character might
be, in fact, dying alone. She might be isolated physically from other people,
if she has been sick, for example, she can be in a hospital room16. The act of
14 John E. Drabinski and Eric S. Nelson, Between Levinas and Heidegger (Albany: State
University of New York Press, 2014) 188.
15 Arthur Schopenhauer, The World as Will and Representation, vol. II (Mineola: Dover Publications, 1966) 463-464.
16 Michel Foucault, The Birth of the Clinic (Oxon: Routledge, 2003) 18.
463
dying confined to a hospital room seems to have contributed to the increase

of the ignorance concerning death itself and the dead. Isolating the dying
ones might be also a form of repressing the fear of death by positioning it far
away from the public eye. By hiding the dead from the living one might be
possibly increasing the fear from death.
The knowledge of death seems to be unique in human beings and because of its complexity it is accessible only when a child is about the age of
five17. Maybe the only means for acting freely is not being obsessed with such
a fatal fate. In The Loneliness of the Dying Norbert Elias refers: Death is a
problem of the living. Dead people have no problems. Of the many creatures
on this earth that die, it is human beings alone for whom dying is a problem.
They share birth, illness, youth, maturity, age and death with animals. But
they alone of all living beings know that they shall die; ()18.
In The Denial of Death, Ernest Becker refers that repressing the fear of
death is not the same as loosing the fear of death19. For the same reason
one might say that by denying death one is not defeating death. The idea
of being able to defeat death has been a cultural reference to distinguish
common men from heroes, where hero is the one that goes into the world
of death and manages to come back alive20. Todays heroes are survivors of
wars and disasters and scientists who have contributed to conquer death.
Society is marked by this constant attempt to delay death, but by repressing
the thought one might be loosing the chance to appreciate the great things
of life.
In 2004 photographer Walter Schels exhibits his collection of 24 portraits
taken of people (17 months to 83 years old) before and on the day they died
entitled Life Before Death21. The research was done together with his partner and journalist Beate Lakotta, as a mutual enquire concerning the state
of being dead, in hospices in Hamburg and Berlin. According to the couple,
death has become a taboo since it has been banned to hospitals and society
in general lost the direct contact with the phenomenon. Schels and Lakotta
refer the isolation these people experienced: some because they had been
forgotten by their relatives and others because their friends and family were
17 Lewis R. Aiken, Dying, Death, and Bereavement (Mahwah: Lawrence Erlbaum, 2001) 236.
18 Norbert Elias, Loneliness of the Dying (New York: Bloomsbury Publishing, 2001) 3.
19 Ernest Becker, The Denial of Death (New York: Simon and Schuster, 2007) 20.
20 Ernest Becker, The Denial of Death, 12.
21 Allan Kellehear, The Study of Dying: From Autonomy to Transformation (Cambridge: Cambridge University Press, 2009) 184.
464
unable to engage in the situation22.

Memento mori
Photographing the dead was common during the 19th century23. It was a
way of remembering the departed at a time when the visual depiction of a
person was not a common practice as it is today due to digital media. Schels
and Lakotas work though is an attempt to understand death and therefore
is a way of understanding life and appreciating time. One of the portrayed,
Wolfgang Kotzahn (1947-2004) declared: Now Im lying here waiting to die.
But each day that I have I savour, experiencing life to the full. I never paid
any attention to clouds before. Now I see everything from a totally different
perspective: every cloud outside my window, every flower in the vase. Suddenly, everything matters24.
By being aware of death maybe one will not fear death. Freud defends
that what is commonly considered fear of death is actually fear of something else, such as abandonment or leaving unresolved issues25. Possibly,
although we seem to be unable to imagine our own death, we are capable
of accepting the idea of mortality and therefore capable of making sense of
life. According to Norbert Elias social institutions have failed in providing to
the individual the required support. In The Loneliness of the Dying the author
refers that It is only the institutionalized routines of hospitals that give a social framework to the situation of dying. These, however, are mostly devoid
of feeling and contribute much to the isolation of the dying. (...) The secular
rituals have been largely emptied of feeling and meaning; traditional secular
forms of expression lack the power to convince26. Such detachment was
approached by the exposition Deadness (2013), where Jordan Baseman
focus on the role of the embalmer, whose role is to professionally treat human corpses so that they can become more alive before being showed to
the living ones27.
22 Joanna Moohead, "This is the end", The Guardian, April 1st 2008, http://www.theguardian.
com/society/2008/apr/01/society.photography.
23 John Hannavy, "Postmortem Photography", Encyclopedia of the nineteenth-century: A-I,
index, Vol. 1 (Abingdon: Taylor & Francis, 2008).
24 David Rosenberg, "How one photographer overcame his fear of death by photographing
it", Behold The Photo Blog, August 17th 2014 http://www.slate.com/blogs/behold/2014/08/17/
walter_schels_life_before_death_includes_portraits_of_people_before_and.html.
25 Jerry S. Piven, Death and Delusion: A Freudian Analysis of Mortal Terror (Charlotte: IAP,
2004) 94.
26 Norbert Elias. Loneliness of the Dying, 28.
27 "Jordan Baseman, Deadness at Matts Gallery, London", https://vimeo.com/73652336.
465
Art is possibly the only universal means for making sense of death. There
is a monument, in the South of Portugal, Chapel of Bones, built on the 16th
century, by a monk, using skeletons from 5000 bodies28. The work might
be today considered macabre in its form but it still has a moral objective: to
confront the individual through shock with a future common to all humankind,
to make one aware of the futility of material life so that, based on this knowledge, one can direct his life towards the accomplishment of real richness.
Through Invisible Places / The Vast White we come closer to a woman
who is about to die. But we are more than spectators. The constant close
up of the camera on this womans face as well as her whispering sounds
are elements that bring her closer to us. So close that she is not just another person, she becomes our relative. Through her we are encouraged to
stop being afraid of death and instead we are invited to make our life worth
it. So allow me to remind you Marianne Strapatsakis words: Im afraid of
death only when Im touched by beauty. On the other hand, when touched
by beauty, no one cares about death.
28 Christine Quigley, Skulls and Skeletons: Human Bone Collections and Accumulations (Jefferson: McFarland, 2001) 172.
466
Bibliography
Aiken, Lewis R. Dying, Death, and Bereavement. Mahwah: Lawrence Erlbaum, 2001.
Becker, Ernest. The Denial of Death. New York: Simon and Schuster, 2007.
Biondi, Paolo C. Aristotle, Posterior Analytics II.19. Saint-Nicolas: Presses
Universit Laval, 2004.
Blay, Michel. Reasoning with the Infinite: from the closed world to the mathematical universe. London & Chicago: The University of Chicago Press, 1998.
Drabinski, John E. and Eric S. Nelson. Between Levinas and Heidegger.
Albany: State University of New York Press, 2014.
Elias, Norbert. Loneliness of the Dying. New York: Bloomsbury Publishing,
2001.
Foucault, Michel. The Birth of the Clinic. Oxon: Routledge, 2003.
Hannavy, John. Postmortem Photography, Encyclopedia of the nineteenthcentury: A-I, index, Vol. 1. Abingdon: Taylor & Francis, 2008.
Jantzen, Grace. Death and the Displacement of Beauty: Foundations of Violence. London: Routledge, 2004.
Kellehear, Allan. The Study of Dying: From Autonomy to Transformation.
Cambridge: Cambridge University Press, 2009.
Lanzillotta, Lautaro R. and Israel M. Gallarte (ed), Plutarch in the Religious
and Philosophical Discourse of Late Antiquity. Leiden: Koninklijke Brill NV,
2012.
Marianne Strapatsakis: Trilogy Birth-Life-Death. Strasburg: Apollonia, 2009.
Merleau-Ponty, Maurice. The Visible and the Invisible. Evanston: Northwestern University Press, 1968.
Moohead, Joanna. This is the end, The Guardian, April 1st 2008, http://
467
www.theguardian.com/society/2008/apr/01/society.photography.
Piven, Jerry S. Death and Delusion: A Freudian Analysis of Mortal Terror.
Charlotte: IAP, 2004.
Quigley, Christine. Skulls and Skeletons: Human Bone Collections and Accumulations. Jefferson: McFarland, 2001.
Rosenberg, David. How one photographer overcame his fear of death by
photographing it, Behold The Photo Blog, August 17th 2014 http://www.
slate.com/blogs/behold/2014/08/17/walter_schels_life_before_death_includes_portraits_of_people_before_and.html.
Schopenhauer, Arthur. The World as Will and Representation, vol. II. Mineola: Dover Publications, 1966.
Taylor, Lou. Mourning Dress: A Costume and Social History. New York:
Routledge, 2009.
Tuner, John D. Sethian Gnosticism and the Platonic Tradition. Paris: Les
Presses de l Universit Laval, 2006.
Ware, Robert Bruce. Hegel: The Logic of Self-consciousness and the Legacy of Subjective Freedom. Edinburgh: Edinburgh University Press, 1999.
About the author:

Dalila Honorato is a Lecturer at the Department of Audio & Visual Arts
of the Ionian University.
468
469
Special thanks to:
Session chairs:
Andreas Giannakoulopoulos
Ioannis Deliyannis
Theodoros Lotis
:

Mara Ins Plaza-Lazo
Michael Andrew Morgan
Michele Sambin

Speakers:
Andreas Sitorengo
Anna Benaki
Georgios Tsiouris
Mara Ins Plaza-Lazo
Michael Andrew Morgan
Michele Sambin
Babis Venetopoulos
Dana Papachristou
Panayotis Panopoulos
Nikos Mykoniatis
:

-

Student assistants team:

Akis Doulkeridis
Alkisti Diakrousi
Viki Grintzou
Georgia Vrosgou
Dimitra Gouvina
Dimitra Paganopoulou
Dimitris Grintzos
Dimitris Kravaritis
Irini Agathou
Eleni Vlachou
Eleni Iliadou
Eleni-Stavrina Athanasiou
Evangelia Liakou
Evangelos Kalogiantsidis
Evangelos Tsirbas
Iro Mindou
470
Ioanna Logaki
Katerina Tzekou
Kelly Chatoupi
Konstantinos Koukoudis
Konstantina Zerva
Kostas Baliakas
Lida Vlachava
Maria Dimitropoulou
Marina Andrianou
Mini Papadopoulou
Belize Oumougabe
Natassa Iabani
Nefeli Andoulinaki
Dina Sotaki
Pavlos Svoronos
Rea Papadopetrou
Sofi Boutafi
Spyros Christoforatos
Stephanos Babanis
Phaedra Chatzopoulou
Christina Papadopoulou
471
472
473

Metamorphoses of Corporeality / Art - Body - Technology

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BRUNO MENDES DA SILVA

Concept and interaction

BRUNO MENDES DA SILVA

Space and creation

Borders and Tensions

POLYXENI MANTZOU, XENOFON BITSIKAS

SYMEON NIKOLIDAKIS, CALLIOPE TSANTALI

of animation as a narrative medium for the combat of the phenomenon,

Art and the Re-Design of Human Body

, Cybernetic Body, Bio Art, Primo Posthuman, , Telematic Networks, Technoetic,

1 ROY ASCOTT, https://www.plymouth.ac.uk/staff/roy-ascott

1.Explore space,forhumanityssake (StephenHawking)

Image 1: Comparison of the Kepler186 system and the Solar System

sleep, in irritability, in cognition, he said19.

2. The body is obsolete (Stelarc)

Image 3: Ear On Arm, London, Los Angeles, Melbourne 2006

Image 4: Sitting / Swaying: Event for Rock Suspension, Maki Gallery,

Image 5: Prosthetic Head, Kinetica Art Fair, London

Image 6: Extract / Insert, Herbert Art Gallery, Coventry 2012

25 STELARC, Earlier Statements:The Hum of the Hybrid http://stelarc.org/?catID=20317

2.1. The design ofTranshuman/Posthuman

Image 7: Radical Life Extention. Courtesy of Dr Natasha Vita-More

29 FUTURE OF HUMANITY INSTITUTE http://www.fhi.ox.ac.uk/ (retrieved 30 July 2014).

Image 8: Dollys taxidermied remains (5 July 1996 14 February 2003),

41 J McSW, Review-The birth of Biopolitics, Lectures at the College de France,

Image 9: The cloning process that produced Dolly Wikipedia

The issues of Bioethics are rather complex, especially in the area

spective of philosophy, freed from various religious interpretations. Just as

3. The Vision OfTelenoia (Roy Ascott)

Image 10: Roy Ascott

Vegetal Reality belongs to the sphere of the archaic technologies, and

can be found in biophotonics research58.

present technological culture60.

zine, November 2005, http://drainmag.com/index_nov.htm (retrieved 30 July

Fukuyama, Francis, Bibliography http://fukuyama.lindosblog.com/ (retrieved 30 July 2014).

O Neil, Dennis, Evolution of Modern Humans: A Survey of the Biological

Thomson, Helen, Gunshot victims to be suspended between life and death

Body and personhood in web-based virtual worlds:

Peter Sloterdjik15. Peter Sloterdjik

Sussan, Rmi, Les utopies posthumaines, Paris: Omniscience, 2005.

Body as Lex con

When the spectator becomes the protagonist:

Keywords: Digital art, Cinema, Interactivity, Time, Narrative

To , The Forking Paths

will no longer be shown, as we will demonstrate below. Ahead indicate the

Image 1: frame shot 36 B (male co-protagonist from the movie Haze)

Image 2: frame shot 36 A (female co-protagonist)

Image 3: frame shot 36 C (detail from the female co-protagonist)

is based on the production of three narratives forming The forking paths

idea of opsign. Simultaneously we will try to find a match in the sonsign

Soja, Eduard.Postmetropolis:Critical studies of Cities and Regions. Oxford,

About the author:

From A. Artauds rawness to the intangible body of mixed

15 , ., . , , 2006, . 22. movatar

31 Stanley Fish, .. , . 202-203.

culture. Bloomington Indianapolis: Indiana University Press, 1996.

Representational approaches of the notion of co-presence

Presence (video installation)

(Tai Chi, Supreme Believers

Haywood, Naomi and Cairns Paul. Engagement with an interactive museum

of embodiment and social presence, in proceedings of the international

edited by Tim Cresswell and Paul Merriman. 19-35. Farnham: Ashgate

6. But, just to make it more complicated, in the realm of fertility